Re: [MCN-L] Digital Media Departments

[Deborah Wythe]

At the Brooklyn Museum, the Digital Lab is a separate department answering to 
the Deputy Director for Administration -- parallel to Technology. We handle all 
imaging (photography & scanning), digital asset management, licensing in and 
out, and copyright, plus managing still and film shoot requests. Staff of 6 (2 
photographers, 1 R/shoot manager, 1 picture researcher, 1 imaging archivist, 
plus myself, dept. manager, database and copyright nerd) plus 2-3 unpaid 
interns at any given time.

Needless to say, we work closely with Tech staff, who handle the network side 
of our DAM; with Collections, where we interact with TMS; and with all the 
various departments who use and request images: design, public info, 
development, publications, curatorial, exhibitions, libraries/archives, 
education -- pretty much everybody.

Deb WytheHead of Digital Collections and Services
Brooklyn Museum



deborahwy...@hotmail.com

From: t...@seattleartmuseum.org
To: mcn-l@mcn.edu
Date: Mon, 21 Sep 2015 19:36:56 +
Subject: [MCN-L] Digital Media Departments

Hello MCN’ers,
 
I’m sure this question has been answered before, but how are you incorporating 
Digital Media with your IT departments?  Are you combining these into 1 
department?  Or are they two separate departments?  I understand some larger 
museums may have 2, but what about medium and small-sized museums?  And what 
responsibilities are covered under your “Digital Media” umbrella?
 
Also, do you have an org charts to share that may give a sense of overall 
structure?
 
Thanks!
 
 
 
 
TIM RAGER
 
Director of Technology
 
 
Seattle Art Museum
 
p: 206.344.5278
 
seattleartmuseum.org
 
INTIMATE IMPRESSIONISM / Seattle Art Museum / Oct 1 – Jan 10
CHIHO AOSHIMA: REBIRTH OF THE WORLD / Asian Art Museum / May 2 – Oct 4
Get tickets at visitsam.org/tickets
 
 

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[MCN-L] Job opportunity -- Brooklyn Museum

[Deborah Wythe]

Brooklyn MuseumSenior Manager for Collection Records and Review—Registrar’s
  Office(Full-time, permanent, non-union covered
  position)
Summary: 

Manage, enhance, and
expand all aspects of the collections, exhibitions, and loans database (TMS) to
ensure maximum usage by museum staff, and public access through the museum’s
website; supervise the implementation of established procedures for data entry,
accessioning, collection review, deaccessioning, and records management.

 

Requirements:

B.A. required; M.A. in Art History,
 Museum Studies, or a related field preferred. Minimum five years direct 
experience in
 museum collections data management; in-depth understanding of TMS (The
 Museum System) data structure and system administration.Previous 
participation in a TMS upgrade.Advanced Crystal Reports writing;
 Familiarity with digital imaging and SQL queries. Knowledge of MS Access 
and Excel
 applications. Familiarity with registration and
 collections management functions and procedures: accessioning,
 deaccessioning, exhibitions, loans, shipping, inventories, and location
 tracking is essential. Experience managing projects and seeing
 them through to completion. Must be organized, detail oriented, articulate,
 and self-motivated, with proven ability in supervising others. Ability to 
interact with other staff
 members and to provide immediate assistance and support when necessary.
 Ability to conduct research and work independently on a variety of
 projects simultaneously to meet deadlines in a fast-paced office
 environment.   

Responsibilities

·
System
administration of (TMS); Manage Records Management budget. 

·
Supervise
Associate Registrar for the Permanent Collection and accessions  processing, 
permanent collection
documentation, and implementation of collections policies.

·
Supervise
Records Assistant and Collections Review Assistant; develop data entry and
collections review projects.

·
Manage
and track Collections Review process, deaccessions, auction house contracts,
transfers, and packing and shipping arrangements; review Collections Committee
paperwork; enforce deaccession and disposition policies.

·
Oversee
research on object status and source; resolve numbering issues and perform
record clean-ups. 

·
 Work with curatorial staff to develop
cataloguing format guidelines and data standardization; collaborate on 
collection
inventories. 

·
Develop
new database uses, design Crystal reports for all TMS modules, and create alerts
using SQL to streamline user workflow. 

·
Propose
and develop collections documentation policies with approval of Chief Registrar
and Chief Curator.

·
Maintain
database authority tables, configuration, security access, and prepare
quarterly database statistics; perform data auditing.

·
Oversee
exhibition checklist entry: approve final checklist for web display; maintain
pre-TMS checklist reports and forms in Access; update permanent collection
installation checklists in TMS.

·
Maintain
locations authority and oversee location movement entry; track opening and
closing of gallery spaces in TMS.

·
Work
with Tech staff and Curators on OpenCollection data development. 

·
Provide
support for DAMS system and Digital Lab, and Rights  Reproductions staff. 

·
Maintain
Conservation Screen workflow; oversee conservation image linking and 
documentation
standards.

·
Review
records and create reports for collection information sent to external websites.

·
Work
with software vendor to develop new TMS versions to serve Museum needs.

·
Oversee
database upgrades; perform testing, prepare data, and coordinate with Tech
staff.

·
Train and
provide support for all staff in database use and access; troubleshoot database
issues.

Reports to:  Chief Registrar



Starting date: Immediate, September 2015



Schedule: Monday - Friday, 9:00 a.m. to 5:00 p.m., 35 hours/weekSalary:  
Commensurate with
experience



To apply:  Please send letter,
resume, and list of 3 references to:   

  
job.manager.collecti...@brooklynmuseum.org

 

 

Applicants for positions at
the Brooklyn Museum are considered without regard to race, creed, color,
country of origin, sex, age, citizenship, disability, marital status or sexual
orientation. Candidates of color are strongly encouraged to apply. The 
Immigration
and Control Act (1986) requires that all hires be in conformity with the law.

 




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[MCN-L] Copyright at the Museum: Using the Publication Doctrine to Free Art and History.

[Deborah Wythe]

Worth a read: 

Copyright at the Museum: Using the Publication Doctrine to Free Art and 
History. 



Deborah R. Gerhardt University of North Carolina (UNC) at Chapel Hill - School 
of Law; University of North Carolina (UNC) at Chapel Hill, September 5, 2014

http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2505041 

Peter Hirtle commented on the article on the Archives and Archivists listserv: 

There is an excellent discussion of the issue in Deborah Gerhardt's  recent 
article, 
Copyright at the Museum: Using the Publication Doctrine to Free Art and 
History 61 J. 
Copyright Soc'y U.S.A. 393 (2014), available at SSRN: 
http://ssrn.com/abstract=2505041.  

Gerhardt cites the opinion of the leading copyright treatise (Nimmer on 
Copyright):
[p]lacing  a work in a public file on or after January 1, 1978, clearly does 
not constitute 
an act of publication . . . . Some pre-1978 cases held that filing in a 
governmental office 
constitutes a publication. However, the better view was that such filing did 
not constitute 
a publication.

Gerhardt then looks at the actual cases involving publication.  Her discussion 
of Works 
Deposited in Government Archives begins on p. 431.  She confirms that in most 
cases, the 
Nimmer conclusion is correct.  Her finding: the public availability of the 
work in the 
government archive was not enough to constitute publication.

(An aside: in the rest of the article, Gerhardt wants to argue that deposit of 
unpublished  
material in a non-governmental archives or library does constitute publication. 
 Hence, by 
donating material to an archives, copyright owners published that material - 
and 
abandoned all copyright in the process.  It is an argument that I think would 
be very bad 
for archives if adopted.)Deb Wythe
Brooklyn Museum
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Re: [MCN-L] Metadata fields for people/place/event images

[Deborah Wythe]

Hi Boyce,

We worked on this at the Brooklyn Museum a couple of years ago and came up with 
our own template -- there's nothing out there that's a standard. My email to 
the people who responded to my inquiry -- pretty much parallel to yours -- is 
below. I'll send you the project documentation and template directly (and would 
be glad to share with others who respond to me at 
deborah.wy...@brooklynmuseum.org).

We've started loading images and data into our DAMS for the BM_Life collection 
and it's going smoothly, though the metadata creation is much more intensive 
than when working with the object collections, where we're drawing much of the 
description from our collections system. I'll know more about how well it works 
for access purposes once we release it to the full staff -- some tech steps 
still have to happen for that. 

Best,
Deborah Wythe
Digital Collections and Services
Brooklyn Museum



From: Deborah Wythe 

Sent: Wednesday, March 12, 2014 3:00 PM

Subject: Museum_Life metadata template



A bit more
than a year ago, you all responded to my inquiry below about a metadata
template for candid photography. Two intrepid grad interns, Mary Curran and
Diana Krell, worked on the project in spring 2013, making a great deal of 
progress
in identifying necessary fields and proposing controlled vocabularies based on
the needs of our internal “customers.” The next step, which required me to
carve out some time to work with our Technology staff, was to create the
template within our Luna DAMS and test it with some sample images and data. I
finally accomplished that this winter. 

 

I’m attaching
a spreadsheet with the field structure and some sample data. It’s a fairly
simple many (images) to one (event) relationship, with a number of controlled
vocabularies embedded in each. 

 

Next steps
will be to create event records and batch load images with basic metadata to
link up with them. More detailed description (image notes and keywords) will
probably be added within the DAMS, item by item, though some sets that are more
consistent may be able to have keywords loaded across the batch.

 

While it’s a
custom template, most of the image fields can be mapped the CDWA. The event
data does not (though I guess you could consider an event a “work” but that
seems a stretch).

 

I would be
grateful for any comments or suggestions!

Best,

Deb

 

Deborah
Wythe

Head
of Digital Collections and Services

Brooklyn
Museum

200
Eastern Parkway

Brooklyn,
NY 11238

tel:
718 501 6311

fax:
718 501 6145

deborah.wy...@brooklynmuseum.org

 

Hello!



We're starting to work on developing a metadata template for what I call
Museum life images -- events, activities, people, programs -- so
that we can fold them into our DAMS and make them more accessible to staff. I
recall a session a couple of years ago where there was some discussion of this
topic. 

 

Are you working on this? Have you solved it? I would love to
convene a group of folks to compare notes and develop something
that could be a model for others. I have two grad interns who are going to take
on the project in the new year who could compile and report back our findings. 

 

 




deborahwy...@hotmail.com

 From: btank...@chicagobotanic.org
 To: mcn-l@mcn.edu
 Date: Wed, 8 Apr 2015 14:28:30 +
 Subject: [MCN-L] Metadata fields for people/place/event images
 
 Hi All:
 
 For a number of years we've been digitizing plant images from staff, 
 departmental and institutional collections at the Chicago Botanic Garden.  
 Working with a number of other institutions we created and implemented some 
 standardized terms and abbreviations for the various parts of plants featured 
 in these images.
 
 Recently we expanded our efforts and began digitizing a fairly robust 
 collection of images documenting the history of the Chicago Botanic Garden 
 from a people, place and event standpoint.  Can any of you provide links to 
 accepted metadata definitions and terms for these non-plant images?
 
 Many thanks,
 
 Boyce Tankersley
 Director of Living Plant Documentation
 Chicago Botanic Garden
 1000 Lake Cook Road
 Glencoe, IL 60022
 Email: btank...@chicagobotanic.org
 Phone: 847-835-6841
 Fax: 847-835-1635
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[MCN-L] Digital Lab position open at Brooklyn Museum

[Deborah Wythe]

Our Digital Imaging Archivist position was just posted -- job description here 
and pasted below.
If you truly love metadata (it's a BIG part of the job) and have some serious 
imaging chops, I'll be at MCN and would be happy to talk to you about our shop. 
You can email me or catch me after one of the IP panels I'm on.

Deborah Wythe
Head of Digital Collections and Services
Brooklyn Museum
deborah.wy...@brooklynmuseum.org



Digital Imaging Archivist—Digital Collections and Services(Full-time, 
permanent, non-union position)



Requirements: The ideal candidate must possess a degree in 
information science, museum studies, or other relevant field with 
significant experience in photography, scanning, and/or imaging. He or 
she must have a demonstrated commitment to a museum career; experience 
managing and assessing digital images, including scanning, creating 
metadata, and working with databases; excellent written and oral 
communication skills; and a strong knowledge of Microsoft Access, 
Microsoft Excel, and PhotoShop. She or he must be highly organized, 
self-motivated, detail oriented, and accurate, and have the ability to 
set priorities, meet firm deadlines, and interact well with a wide 
variety of staff members Museum-wide.



Responsibilities: The Digital Imaging Archivist serves as a 
member of the Digital Collections team, working to make images of the 
Museum's collections accessible to our staff and to the public. The 
position creates and manages digital assets to populate the Luna DAMS 
and our website. She or he scans analog materials, creates metadata, 
loads images and metadata into Luna, and checks and maintains image and 
data quality. The Digital Imaging Archivist is expected to expedite scan
 requests and projects undertaken by full- and part-time staff, which 
includes tracking requests in the scan queue database, ensuring 
deadlines are met, and coordinating use of standards. He or she works 
with the Photo Studio staff to manage born digital content; plans and 
implements imaging and image management projects; and undertakes 
research into new formats and technologies, as needed. The position 
trains Museum staff and departmental interns on image-related issues and
 on imaging technology use; works with other departments to coordinate 
image needs and manage image flow; and assists with special projects and
 departmental administration, as needed.



Reports to: Head of Digital Collections and Services

Work schedule: Monday through Friday, 9 a.m. to 5 p.m., 35 hours a week

Salary: $34,000

To apply: Please send résumé, cover letter, and salary history to 
digital.imaging.archiv...@brooklynmuseum.org.

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Re: [MCN-L] Resume Review ...jobs...etc..help?

[Deborah Wythe]

I'm not sure what I can offer to help with Sarah's specific case (though I'm 
sure there will be some one-on-one helpful and wise responses from MCN 
colleagues), but I DO know that there's one huge thing that we can ALL commit 
to: communicating with the people who apply for the jobs we're responsible for 
posting. 

How much effort does it take to acknowledge incoming applications, keep people 
posted on the process, and send out a final email when the job has been filled? 
Well, yes, some effort, but a set of email responses are pretty to easy to 
create and send out periodically with a bcc list. If 600 people apply for a 
job, that's a good thing for an applicant to know. When you select someone, it 
can be helpful to share what the critical skills were with others who didn't 
make the cut. 

I recently saw a posting from the Portland Art Museum. The text below appears 
in a pop-up for each job description.  Kudos to PAM for their kind and 
well-thought out policy.

It's a really bad job market out there. Let's see what we as professionals can 
do to make the application process better for people who are trying to join us 
in our underpaid by fascinating career!

Best,
Deborah Wythe
Head of Digital Collections and Services
Brooklyn Museum


http://portlandartmuseum.org/about/careers/ 
We recognize and respect the amount of time you are about to invest by 
applying to this open position. If you complete this job application, 
you will be kept informed via email status updates (and text messages, 
if you opt in) throughout the evaluation process.

By continuing with this job application, you will be asked to answer 
job-specific questions. Please note that the questions contained in this
 job posting are our sole intellectual property.

Upon receipt of your responses, we will evaluate your submission. If 
selected for a personal interview, you will receive an email/text with 
scheduling instructions.

Thank You,

Human Resources Department

SPECIAL NOTE: If you do not receive a confirmation e-mail within
 minutes of your job application submission, please check your email 
bulk or spam folders. 




From: sa...@sarahstierch.com
Date: Tue, 11 Nov 2014 09:09:56 -0800
To: mcn-l@mcn.edu
Subject: [MCN-L] Resume Review ...jobs...etc..help?

Hi everyone,
 
Bear with me here, this is one of the most awkward emails I have ever sent in a 
professional sense..this is about the job hunt and professional development. I 
need some help. 
 
( TL:DR? Skip to the “So, here’s the deal”  section below the story. )
 
This involves a bit of a selfish story…: 
 
I returned back to finish my bachelors and masters later in life, and in 2012 
received my Masters in Museum Studies from George Washington University. My 
emphasis was a variety of things - business administration mixed with 
curatorial practice - all while I was working as a Wikipedian in Residence at 
the Smithsonian and writing and presenting internationally about how cultural 
institutions can partner with Wikipedia and open culture communities. In 2013, 
I was offered a fellowship at the Wikimedia Foundation to engage more women to 
contribute to Wikipedia. They relocated me to the San Francisco Bay Area. I 
kept my foot in the GLAM sector, working for various organizations as a 
contractor and lecturing. At the end of my fellowship, I took a job with the 
Wikimedia Foundation as a community coordinator - taking me further away from 
the culture sector. 
 
This January, my work ended with Wikimedia and I revamped my resume and 
website. I was determined to return to the culture sector. I became a fellow at 
the University of California’s Berkeley Center for New Media, lecturing about 
OpenGLAM and women and technology. I attended some museum conferences on my own 
dime; struggling to figure out how I fit into the picture. I sat in lectures 
about the things I value - open access/culture/tech - and mixed and mingled 
with birds of a feather. Institutions were interested in my work, and still 
are. I throw my own parties when in other cities - hosting tweet ups and 
drinkingaboutmuseums to connect with folks. 
 
I applied for jobs. Digital, curatorial, executive director (small museums)… I 
applied for over 60 jobs, in USA  a few in Europe. I had no interviews. No 
answers to my follow-ups. Only three “thanks but no thanks,” letters were sent. 
I became frustrated, dragging my self-esteem of “I have an awesome story and I 
am awesome,” in a messy pile behind me… I submitted some talks at conferences, 
only to have to cancel attending after they were accepted due to lack of money 
to attend them.
 
Eventually, I found a job through a family connection at a small consulting 
firm in Wine Country.. I spend my days writing grants and researching for small 
non-profits and school districts as a contractor. I relocated to Napa, CA, to 
be closer to the office, leaving Oakland. Every day I think about museums, and 
use social media and some voluntary projects to stay

[MCN-L] Conservators records

[Deborah Wythe]

Thanks. Do you know if their private conservation records are managed by the 
lab or have become part of one of the HU archives/special collections?

Best,
Deborah 
deborahwythe at hotmail.com

 From: squigle at panix.com
 Date: Thu, 28 Aug 2014 09:49:28 -0400
 To: mcn-l at mcn.edu
 Subject: [MCN-L] Conservators records
 
 The Harvard conservation lab has some records from conservators now deceased.
 
 
 Suzanne Quigley
 917 676 9039
 ArtAndArtifactServices.com
 
 
 
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[MCN-L] MCN: conservator's archives

[Deborah Wythe]

Hello all,

 

I am looking for archives/libraries that collect conservation records,
specifically documenting conservators' private practices. (Obviously, museum 
conservation
records stay just where they belong!)

 

Leads so far are:

 

Winterthur (see 
http://www.conservation-us.org/foundation/initiatives/oral-history-project/archival-records#.U_3GP6ODUuc
)

Getty

University of Delaware

 

Any others? Any details on
these collections, including who to contact, would be most welcome.

 

Also, I was told that AIC has
someone responsible for keeping track of who has archival collections, but
haven't found anything on their website. Does anyone have knowledge of
that project and who to contact?

 

Many thanks,



Deb

 



Deborah
Wythe

Head
of Digital Collections and Services

Brooklyn
Museum

200
Eastern Parkway

Brooklyn,
NY 11238

tel:
718 501 6311

fax:
718 501 6145

deborah.wythe at brooklynmuseum.org

deborahwythe at hotmail.com 
  

[MCN-L] A working list of free/low-cost alternatives to Adobe Creative Cloud products

[Deborah Wythe]

We provide XnView (freeware) as a basic image browser on all Museum staff 
workstations. 

www.xnview.com 

It does a pretty wide variety of batch processing tasks, creates/exports 
contact sheets, does batch file naming/renaming, exports file metadata to txt 
or csv file, allows you to set up scripts for repeated tasks.  It does have 
some simple image editing capabilities, but we stick with PhotoShop for that. 

Pretty nifty little piece of software -- I highly recommend it. 

For more complex metadata work, I've been using ExifTool (also freeware), which 
has a steeper learning curve (it's command line driven), but has a broad range 
of read/write capabilities. 

Deb Wythe
Brooklyn Museum Digital Lab

deborahwythe at hotmail.com

 From: FThomson at ashevilleart.org
 To: mcn-l at mcn.edu
 Date: Thu, 26 Jun 2014 12:45:57 -0400
 Subject: Re: [MCN-L] A working list of free/low-cost alternatives to Adobe 
 Creative Cloud products
 
 ACDSee is a low cost photo editing program that does all the basics. Doesn't 
 really do levels.
 
 -Original Message-
 From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of 
 Edson, Michael
 Sent: Thursday, June 26, 2014 12:17 PM
 To: Museum Computer Network Listserv
 Subject: [MCN-L] A working list of free/low-cost alternatives to Adobe 
 Creative Cloud products
 
 I'm running a working group here at SI to identify free and low-cost 
 alternatives to the products in the Adobe Creative Cloud suite.
 To that end, I've put a working list of those products  - - and possible 
 alternatives to them - - on our public wiki:
 http://smithsonian-webstrategy.wikispaces.com/Alternatives+to+Adobe+Creativ
 e+Cloud+products
 
 
 Many of you know that Adobe has recently moved from a buy-it-and-keep-it 
 model to an annual subscription model, and for us here at the Smithsonian, 
 Adobe has also dropped our educational discount: this is going to cost us a 
 lot of money - - maybe $500/year per user.
 
 Our assumption is that most creative professionals will need to continue with 
 Creative Cloud, but in many instances - - say, an intern doing basic photo 
 manipulation - - a free/cheap tool may be just as good. (I've been using 
 GIMP, a free/open alternative to Photoshop, for years and I'm very happy with 
 it, and Google+ has quietly introduced a very elegant image editing solution 
 that works for 90% of the image editing I do.)
 
 If you know of other products or have something to add, please feel free to 
 comment on the page, edit it, or contact me directly. I'll ping the list when 
 we issue our recommendations.
 
 Thanks!!
 
 Michael Edson
 Smithsonian Institution.
 
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[MCN-L] IP: Copyright Fair Use: Transformative Use program

[Deborah Wythe]

Copyright Fair Use: The Importance of Being Transformative - Has Transformative 
Use Gone Too Far?
Tuesday, March 11, 2014 6:30 PM - 8:30 PM
There is no charge for this program, please sign in to register.

Transformativeness
 has increasingly become the key inquiry in copyright fair use cases. In
 recent years, however, there have been diverse and conflicting opinions
 in the courts as to whether a use is transformative, so it is often 
difficult to predict the outcome of fair use cases. 
 - See more at: 
http://services.nycbar.org/EventDetail?EventKey=COP031114WebsiteKey=f71e12f3-524e-4f8c-a5f7-0d16ce7b3314#sthash.v4FsaM4R.dpufhttp://services.nycbar.org/EventDetail?EventKey=COP031114WebsiteKey=f71e12f3-524e-4f8c-a5f7-0d16ce7b3314

NYC Bar, 3/11 6:30-8:30



Copyright Fair Use: The Importance of Being Transformative -
Has Transformative Use Gone Too Far?

This panel will engage in a
lively discussion on the appropriateness and increasing importance of
transformative use, which courts generally consider when analyzing the first of
four fair use factors, the purpose and character of the use, including
whether such use is of a commercial nature or is for nonprofit educational
purposes. 17 U.S.C. ?? 107 (1). The panelists will also respond to the
central question: has transformative use gone too far?


Copyright Fair Use: The Importance of Being Transformative - Has Transformative 
Use Gone Too Far?
Tuesday, March 11, 2014 6:30 PM - 8:30 PM
There is no charge for this program, please sign in to register.

Transformativeness
 has increasingly become the key inquiry in copyright fair use cases. In
 recent years, however, there have been diverse and conflicting opinions
 in the courts as to whether a use is transformative, so it is often 
difficult to predict the outcome of fair use cases. 
 - See more at: 
http://services.nycbar.org/EventDetail?EventKey=COP031114WebsiteKey=f71e12f3-524e-4f8c-a5f7-0d16ce7b3314#sthash.v4FsaM4R.dpuf(apologies
 for cross posting)
Deborah Wythe
Brooklyn Museum
Copyright Fair Use: The Importance of Being Transformative - Has Transformative 
Use Gone Too Far?
Tuesday, March 11, 2014 6:30 PM - 8:30 PM
There is no charge for this program, please sign in to register.

Transformativeness
 has increasingly become the key inquiry in copyright fair use cases. In
 recent years, however, there have been diverse and conflicting opinions
 in the courts as to whether a use is transformative, so it is often 
difficult to predict the outcome of fair use cases. 
 - See more at: 
http://services.nycbar.org/EventDetail?EventKey=COP031114WebsiteKey=f71e12f3-524e-4f8c-a5f7-0d16ce7b3314#sthash.v4FsaM4R.dpufdeborahwythe
 at hotmail.com 

[MCN-L] [DM SIG:]MCN 2013 - THANK YOU, MCN 2014 - Advanced Planning

[Deborah Wythe]

How about a pre-conference site visit? That would be great!Deb WytheBrooklyn 
Museum
deborahwythe at hotmail.com

 From: jana.hill at cartermuseum.org
 To: mcn-l at mcn.edu
 Date: Tue, 3 Dec 2013 17:15:45 +
 Subject: Re: [MCN-L] [DM SIG:]MCN 2013 - THANK YOU, MCN 2014 - Advanced 
 Planning
 
 Hi DM SIG,
 
 Since we are a local museum (45 minutes from the 2014 MCN conference venue) 
 with a very active digitization program, my team would be excited to present 
 in a session or workshop. Please keep us posted on ideas as they develop.
 
 Great meeting you all again at the SIG luncheon!
 
 Jana Hill
 Collection Information and Imaging Manager
 Amon Carter Museum of American Art
 3501 Camp Bowie Blvd., Fort Worth, TX 76107
 t: 817.989.5173 f: 817.665.4336
 www.cartermuseum.org
 
 
 
 
 El lunes, 2 de diciembre de 2013, Edwards, Chris escribi?:
 
  Everyone,
 
  I wanted to say THANK YOU to everyone who presented at this year's MCN.
   We really put a good effort into ensuring that digitization and 
  digitization related topics were represented well this year.  At this 
  year's SIG chair meeting, the Digital Media SIG was held as the model 
  of getting a SIG's constituency involved in generating content.  As 
  was mentioned at the SIG luncheon, it is up to US to make sure that 
  topics we care about are brought to the conference, this year you all 
  did exceeding well in this.  As long as MCN is one of the main venues 
  for ImageMuse members to attend and/or present, I think its incumbent 
  on us to keep this ball rolling and to continue to think about what we 
  can do for next year's conference in Dallas.
 
  Over the course of the conference, there were several discussions 
  about possible topics for next year:
 
  ImageMagick
  3D
  Collaborating with Conservation departments Basics of establishing a 
  digitization workflow Panel discussion by institutions doing 
  multi/hyper spectral imaging Digital preservation strategies for both 
  still and moving images ? Panel on studio production management: 
  techniques, tracking systems, metrics, cost control, etc.
 
  One of the ideas that came out of this year's conversation was that in 
  addition to topics that we will learn from, we have the ability to 
  give back and perhaps help smaller institutions who are looking at 
  beginning digitization, or institutions who want to expand what they 
  already have.
   We had discussed the possibilities of Wednesday workshops, some basic 
  imaging conference sessions, or even involvement in MCN Pro 
  http://mcnpro.org/ I will let you know more about MCN Pro as it 
  develops.
 
  Please keep the conversations going, the list above is only a small 
  selection, please add to it, replying to this email.
 
  I should also take this opportunity to encourage all of you to join 
  the ImageMuse list serv - http://www.imagemuse.org/ a list serv 
  dedicated to the imaging, publishing and DAM professionals in the 
  cultural heritage community
 
  Thanks again for all your help!
 
  Chris.
  --
  Chris Edwards
  Digital Project Manager
  Yale University Library
  Tel: 203.432.5417
  chris.edwards at yale.edu javascript:;
 
 
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[MCN-L] Joseph Stella

[Deborah Wythe]

Hi Dan (and MCN-L) --

I replied to Daniela off list. We did a thorough search for active 
representatives of the estate and were not able to find anyone who claimed 
rights. To summarize: the heirs (Stella's nephews) are all deceased and we 
found no gallery or licensing agency representation of the estate. The next 
generation was not responsive.

Deborah Wythe
Brooklyn Museum

deborahwythe at hotmail.com

Date: Tue, 24 Sep 2013 11:47:35 -0400
From: danf1...@gmail.com
To: mcn-l at mcn.edu
Subject: Re: [MCN-L] Joseph Stella

Daniela,
 
I don't know the answer but at least one museum apparently came to the
conclusion that Stella's estate can't be reached since under rights
statement they refer to one of his pieces as an orphaned work.
http://www.brooklynmuseum.org/opencollection/objects/352/The_Virgin
 
The executor of Stella's estate was Rabin and Kreuger Gallery. Kreuger died
about 50 years ago and Rabin died about 10 years ago. You might be able to
get some info by contacting a gallery that reports being a representative
of the estate, e.g. http://www.pensler.com/About.htm  or a gallery that
handling a Stella piece they report being owned by the daughter of one of
the executors:
http://www.veredart.com/gallery/artist/joseph_stella_the_veiled_lady_the_persian_lady.pdf
 
Good luck,
Dan Freidus
 
On Tue, Sep 24, 2013 at 11:03 AM, Daniela Trentin dtrentin at 
artsmia.orgwrote:
 
 We wonder who owns the rights for Joseph Stella's work.

 The Minneapolis Institute of Arts is publishing a catalogue in early 2014
 entitled *Master Drawings from the Minneapolis Institute of Arts *and we'd
 like to include a digital reproduction of the *Pittsburgh Factory
 Scene, *1915-20,
 pastel and charcoal, part of the MIA's collection in the publication.
 Thank you.
 --
 Daniela Trentin, Associate Researcher
 Department of Prints and Drawings
 Minneapolis Institute of Arts
 2400 Third Avenue South
 Minneapolis, MN 55404
 dtrentin at artsmia.org
 www.artsmia.org

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[MCN-L] Museums and Fair Use of Images on Websites

[Deborah Wythe]

In addition to Rob's suggestion, I would add that you'll want to have a Digital 
Millenium Copyright Act take-down notice on your website as well. I'm the lucky 
recipient, but can report that activity is very, very, very low. 

This doesn't really relate to thumbnails, which are indeed allowed under Fair 
Use, but is a good protection to have in place in case you accidentally put 
something up at full size that you shouldn't have.

Deb Wythe
Brooklyn Museum

Here's ours:




The Brooklyn Museum respects the intellectual property rights of 
others. The Brooklyn Museum may, in appropriate circumstances and at its
 discretion, remove, disable and/or terminate access to any material on 
or linked to or from this site that it suspects to be infringing upon a 
third party's intellectual property rights or other rights.



If you believe material posted on or linked to or from this site is 
infringing, please provide a written, signed notice of infringement (a 
DMCA Notice) to the designated agent at the Brooklyn Museum, by fax or
 mail, at the address provided below. Such DMCA Notice should be in the 
form set forth below, which is consistent with the form suggested by the
 United States Digital Millennium Copyright Act (the DMCA).



Our designated agent for receiving such DMCA Notices is our Head of 
Digital Collections  Services, who can be reached as follows: 
Deborah Wythe, Head of Digital Collections  Services, Brooklyn 
Museum, 200 Eastern Parkway, Brooklyn, New York 11238. Fax: (718) 
501-6145.



The above contact information is provided exclusively for DMCA 
notices. Do not send any unrelated inquiries to the contact listed 
above.



Please include the following information in your written, signed DMCA 
Notice:

 


Identification of the material that is claimed to be infringing 
or to 
be the subject of infringing activity and that you request be removed, 
disabled and/or access to which be terminated, and information 
reasonably sufficient to permit us to locate the material.
Identification of the work(s) claimed to have been infringed.
Information reasonably sufficient to permit us to contact you, 
such as
 an address, telephone number, and email address at which you may be 
contacted.
A statement that you have a good faith belief that use of the 
material
 in the manner complained of is not authorized by the copyright owner, 
its agent, or the law.
A signed statement, under penalty of perjury, that the 
information in 
the notification is accurate and that you are the copyright owner or are
 authorized to act on behalf of the owner of a right that is allegedly 
infringed.

Please note: The DMCA provides that you may be liable for damages 
(including costs and attorneys' fees) if you make a false or bad faith 
allegation of copyright infringement by using this process. If you are 
not sure what your rights are, or whether a copyright has been 
infringed, you should check with a legal advisor first.


deborahwythe at hotmail.com

From: jhender...@colgate.edu
Date: Tue, 27 Aug 2013 09:23:53 -0400
To: mcn-l at mcn.edu
Subject: [MCN-L] Museums and Fair Use of Images on Websites

Hi all,
 
I am just wondering if any institutions out there (especially university
museums) use images still under copyright for which they haven't been able
to track down permission on their website? If so, do you have any kind of a
Fair Use statement on your site regarding the use of the images?
 
Thanks,
Jesse
 
 
--
Jessica Henderson, MLIS
Visual Resources Curator
Department of Art  Art History
Colgate University
13 Oak Drive
Hamilton, NY 13346
315.228.7594
jhenderson at colgate.edu
www.colgate.edu/visualresourceshttps://sites.google.com/a/colgate.edu/colgatevr/
about.me/jesse.henderson
 
 
*I am actively using this email account M-F, 8:30am-5pm (EST).

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[MCN-L] e-book functional requirements?

[Deborah Wythe]

Has anyone complied a set of functional requirements for museum
e-books (not apps)?

We?re starting to look at this as an ongoing part of our
publications program and would be interested in seeing any models that might be
out there.

 

Many thanks!

 

Deb

 

 


Deborah Wythe

Head of Digital Collections and Services

Brooklyn Museum

200 Eastern Parkway

Brooklyn, NY 11238

tel: 718 501 6311

fax: 718 501 6145

deborah.wythe at brooklynmuseum.org



  

[MCN-L] Museum IP Digitizing Exhibition Catalogs

[Deborah Wythe]

(With apologies to the ImageMuse members for the cross posting):
When we started looking into digitizing our exhibition catalogs, we 
discovered that a large number of them had already been digitized as 
part of the Google Books project and were up
 on the Hathi Trust website. We released most of them under a Creative 
Commons (CC-BY)  license so that the full-text versions would be 
available. Depending on which collection provided them to Google Books 
to digitize, the illustrations may be of better of
 lesser quality. All are in b/w, and the covers generally weren't 
scanned. For art books, it's not ideal, but at least the texts are out 
there. Following in LACMA's Reading Room project footsteps, we decided 
not to try to clear all of the non-collections illustrations.
 So far, no repercussions there, and a non-pain, minimal effort way to 
get the stuff out there.



A more recent joint project with the Frick digitized a few hundred small
 catalogs from the Gilded Age, Those will be sent to the Internet 
Archive and will be on our website as well. As soon as I get around to 
finishing the metadata and loading!



Deb



Deborah Wythe

Head, Digital Collections and Services

Brooklyn Museum

200 Eastern Parkway

Brooklyn, NY 11238

718 501 6311


deborahwythe at hotmail.com

To: musip at yahoogroups.com
From: spatre...@uchicago.edu
Date: Tue, 16 Jul 2013 19:54:43 +
Subject: Museum IP Digitizing Exhibition Catalogs
















 



  



  
  
  






Hi Everyone,



An idea of digitizing all of our exhibition catalogs has been thrown on the 
table. Has anyone done this before? What were the copyright/logistical 
challenges? The ideal would be to put the
 catalogs online eventually. Any advice or suggestions would be greatly 
appreciated!






Thanks!






Sara Patrello





Assistant Registrar





Smart Museum of Art


The University of Chicago


5550 S. Greenwood Avenue

Chicago, IL 60637




spatrello at uchicago.edu

773.702.9549

smartmuseum.uchicago.edu










The Land Beneath Our Feet: American Art at the Smart
 Museum
June 27?August 25, 2013



 



Other Modernisms: Serge Charchoune (1889?1975)

May 7?August 25, 2013























 


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[MCN-L] Managing retention of digital projects

[Deborah Wythe]

There has been a fair amount of discussion of electronic records management in 
the museum archives world in recent years. Below are a few reports on initial 
projects. MFAH is in the implementation phase at this point, I believe, and has 
identified a software package that they believe will work. Here at Brooklyn, 
we've taken some simple, common sense steps -- setting up a dedicated Archives 
drive on the network, circulating file management guidelines, and establishing 
a procedure for submitting electronic records to the Archives. (Both the MFAH 
and BM projects were supported by NHPRC grants.) 

The ERM projects generally take a broader view than just exhibition-related 
media, but those types of materials are certainly included. As a former 
archivist and now digital collections manager, I can see the potential of a 
solution the incorporates initial management in a DAM or content management 
system with eventual migration to a parallel archival system. This could be 
useful for candid photography as well -- at some point it goes from active to 
archives.

(Cleveland, MFA Houston -- p. 12)
http://www.archivists.org/saagroups/museum/newsletter/current/pdfs/MAS_newsletter_Winter_2013.pdf
 

(Brooklyn Museum -- p.1)
http://www.archivists.org/saagroups/museum/newsletter/current/pdfs/MAS_newsletter_Summer_2012.pdf

(VMFA -- p.1)
http://www.archivists.org/saagroups/museum/newsletter/current/pdfs/MAS_newsletter_2010_winter.pdf
 

Deborah Wythe
Brooklyn Museumdeborahwythe at hotmail.com

 From: BarbaraP at PHM.GOV.AU
 To: mcn-l at mcn.edu
 Date: Sun, 14 Jul 2013 23:42:19 +
 Subject: Re: [MCN-L] Managing retention of digital projects
 
 I'd like to put in a 'me too' for this one. I know we can archive most things 
 in the Narratives module in our EMu system, with attached multimedia files, 
 but I know there are other possibilities for knowledge capture and content 
 management. Keen to hear.
 
 Barbara Palmer
 
 Barbara Palmer
 Registrar, Collection Information,
 Registration
 Powerhouse Museum
 500 Harris Street, Ultimo, Sydney, NSW 2007 Australia
 T +61 2 92170453
 W http://www.powerhousemuseum.com
 
 
 This email plus any attachments to it are confidential and may be privileged. 
 Any unauthorised use is strictly prohibited. If you receive this email in 
 error, please delete it and any attachments.
 
 -Original Message-
 From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of 
 Perian
 Sent: Monday, 15 July 2013 3:51 AM
 To: Museum Computer Network Listserv
 Subject: [MCN-L] Managing retention of digital projects
 
 Something I've been trying to wrap my head around lately is what happens with 
 all of the mobile tours, old exhibition websites, PSD and InDesign projects, 
 Final Cut Project files, gallery kiosk displays, touchtable, etc. once we're 
 done with them. It seems to me that we're the one industry, with the 
 exception, perhaps, of theme parks and space programs, that has such a wide 
 variety of outputs and use so many different technologies.
 
 So how do you all manage this stuff? Images, audio, video, and documents are 
 easy, but everything else seems a lot harder. Is there software out there 
 that allows you to keep track of all of it? Does it just get linked into a 
 project management software, with the hope we'll be able to open it in 5 
 years? I know we can link them into our DAMS, and maybe that's the best 
 solution, but I'm wondering if there are other dedicated types of software 
 that can help us manage these many different filetypes, and maybe allow us to 
 link in emulators.
 
 Any ideas or experiences of your own workflows would be greatly appreciated.
 
 Thanks,
 
 ~Perian
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[MCN-L] IP: appropriation art from GoogleArt blur-outs

[Deborah Wythe]

Artist Turns the Google Art Project?s Blurry Canvases Into Hazy Abstract 
Paintings
http://blogs.artinfo.com/artintheair/2013/06/04/artist-turns-the-google-art-projects-blurry-canvases-into-hazy-abstract-paintings/



Deb Wythe
Brooklyn Museum

deborahwythe at hotmail.com   

[MCN-L] Permissions

[Deborah Wythe]

 to be secured (and then only if 
  the use was not a fair use).
  
  Peter Hirtle
  
  -Original Message-
  From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On 
  Behalf 
  Of Deborah Wythe
  Sent: Friday, May 24, 2013 3:59 PM
  To: mcn-l at mcn.edu
  Subject: Re: [MCN-L] Permissions
  
  I don't think there's any way around the wide variety of charges and 
  procedures, but I was struck by the frustration of the writer, who 
  clearly had never done image acquisition before. It's a skill, just 
  like any other. Filling in for our RR coordinator, I've learned 
  just how many emails it can take to get all the information we need to 
  help them.
  
  I've often wondered if there was a way to connect museum staff with 
  art history grad programs to get this topic on their curriculum. 
  Shouldn't every budding writer have a brief tutorial on copyright, 
  image acquisition, image quality, etc?
  
  Then again, when I was in grad school and suggested to my advisor 
  that we put together a guide to doing primary source research, he 
  put me off, saying that we should all be figuring it out ourselves 
  and that was one way they sorted the wheat from the chaff.
  
  I won't address the differing policies and prices -- that's a 
  different (and difficult topic) -- but putting chocolate on our fee 
  schedules is an interesting concept.
  
  Deborah Wythe
  Brooklyn Museumdeborahwythe at hotmail.com
  
  From: lesleyeharris at comcast.net
  Date: Fri, 24 May 2013 12:06:38 -0400
  To: mcn-l at mcn.edu
  Subject: Re: [MCN-L] Permissions
  
  Whoops--article is at
  http://www.timeshighereducation.co.uk/comment/opinion/opinion-snap-
  decisions/2003969.article.
  
  
  On May 24, 2013, at 12:05 PM, Lesley Ellen Harris
  lesleyeharris at comcast.net wrote:
  
  This article on obtaining permissions from museums will be of 
  interest to
  MCN members.
  
  Lesley
  
  lesley at copyrightlaws.com
  www.copyrightlaws.com
  
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[MCN-L] Suggestions on Flatbed Scanners

[Deborah Wythe]

Epson 1 XL is a great workhorse. Make sure you get the model that 
accommodates  transparent media.

Deb Wythe
Brooklyn Museum
deborahwythe at hotmail.com

Date: Fri, 21 Sep 2012 10:10:10 -0400
From: kcarpen...@albrightknox.org
To: mcn-l at mcn.edu
Subject: [MCN-L] Suggestions on Flatbed Scanners

Good morning, 
 
 
 
My name is Kelly Carpenter and I am the Digital Media Manager at the
Albright-Knox Art Gallery. My department is currently looking into
purchasing a flatbed scanner for digitizing black and white photographs.
I was wondering if anyone had any suggestions for the best brand? 
 
 
 
All the best, 
 
Kelly
 
 
 
Kelly Carpenter
 
Digital Media Manager
 
1285 Elmwood Avenue
 
Buffalo, NY 14222-1096
 
716.270.8235
 
kcarpenter at albrightknox.org
 
 
 
 
Albright-Knox Art Gallery
Celebrating 150 Years
1862 - 2012
 
 
 

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[MCN-L] (no subject)

[Deborah Wythe]

http://seetheuae.com/network.php?/qezikaka/cyrarjfi/63700/
  

[MCN-L] (no subject)

[Deborah Wythe]

http://playground.wickedleo.com/network.php?/coninibax/hjxici/275296/
  

[MCN-L] Quick DAM/CMS survey

[Deborah Wythe]

Luna Insight, implemented in 2007
TMS, implemented a long time ago (our second system -- 1st generation was 
Quixis)

Deb Wythe
Brooklyn Museum

deborahwythe at hotmail.com 


Date: Mon, 18 Jun 2012 14:41:06 -0400
From: tfuller...@vmfa.state.va.us
To: mcn-l at mcn.edu
Subject: [MCN-L] Quick DAM/CMS survey

All, I am certain this has come up before in bits and pieces, but I am
pulling together some data and I am interested in a couple quick facts
regarding DAM/CMS implementation. If you are willing, can you please let me
know what DAM system your institution is currently using and when it was
implemented, as well as what CMS you are using and when that was set up?
 
Hopefully, I will be flooded with quick responses. Feel free to respond
off-list. 
 
Thanks!
 
-Travis
 
-- 
Travis Fullerton
Photographer, Virginia Museum of Fine Arts
200 N Boulevard, Richmond, VA 23220
804.340.1538
 

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[MCN-L] Digital imaging workflow software

[Deborah Wythe]

Hi Jana, 

We use a combination of TMS, Access, and some html pages for our imaging 
requests:

Staff who want to order photography or scans select to objects in TMS and 
generate a report that exports basic tombstone data and some header information 
to an Excel spreadsheet. They add some additional information (deadline, 
request type, views, notes) and submit it to Digital Lab staff via an email 
alias (photoqueue at brooklynmuseum.org; scan_requests at brooklynmuseum.org).

We crunch the data a bit and then import it into Access, generating an 
acknowledgement email and exporting an html page that lists all active jobs 
organized by collection, along with deadline and the schedule date, once 
assigned. The html page is stored on the public drive so that staff can check 
on order status.

For scan requests, we generate a worksheet from Access for each job, which is 
used to track the process. For photography requests, the photographers generate 
Access reports to send to Collections management and curatorial for each shoot 
day. It has been especially good for the photographers, who can easily organize 
shoots by deadline, set up type, size, project, etc. 

Once images are complete, they're logged out in Access and the accession 
numbers stored there are used in metadata creation as the images are loaded 
into our Luna DAM. 

We've had good response from staff -- the TMS report part is simple for them 
and they like being able to check the queue easily. Digital Lab staff have had 
to develop some Access skills, but nothing too difficult. 

Deb Wythe
Brooklyn Museum



deborahwythe at hotmail.com 


 From: jana.hill at cartermuseum.org
 To: mcn-l at mcn.edu
 Date: Wed, 15 Jun 2011 20:25:22 +
 Subject: [MCN-L] Digital imaging workflow software
 
 I'm interested in what kinds of software other institutions are using to 
 manage digital imaging requests and workflow. We currently use a homegrown 
 Access database, but it is unpopular and staff go out of their way to avoid 
 using it. I'm primarily interested in other solutions that would fall 
 somewhere in between an Access database and enterprise BPM software, but open 
 to other ideas. 
 
 For what it's worth, we have about 100 staff, including 3 in the imaging 
 department. Any suggestions?
 
 (I seem to recall seeing this topic on MCN-L a while back, but I can't find 
 the relevant posts in the listserv archive.)
 
 Thanks,
 
 Jana Hill
 Collection Information and Imaging Manager
 Amon Carter Museum of American Art
 3501 Camp Bowie Blvd., Fort Worth, TX 76107
 t. 817.989.5173  f. 817.989.5179
 www.cartermuseum.org
 
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[MCN-L] Online Collections Publication

[Deborah Wythe]

Hi Maggie, 

We've have had an uptick in image requests since putting the full collection on 
line -- makes sense, of course: people looking for images are going to want to 
see images. Having PayPal available for quick purchases and people who want an 
image to print and hang on their wall has also helped. 

I don't think there's any competition between catalogs and online collections: 
the first is about interpretation, pulling together related groups, and (yes) 
providing beautiful images. The second is about searching, images, and data, 
and (in our case) interaction, tagging, commenting. 

I don't have stats on hand, but you could look over our blog posts about the 
collections online and see if there are any comments that ring true to you. 
This one is a good starting point http://bit.ly/jPSKXk  (I can't believe it's 
only a year ago that we released everything!) Try the Labs pages, too: 
http://www.brooklynmuseum.org/opencollection/labs/

I'm also not sure that collection online is about attendance -- at least not in 
a bricks and mortar sense. We all need to start seeing our audience as 
something broader than the people who walk in the door. People who don't 
actually come to the museum don't pay admission, but when we build worldwide 
audience and community, we're banking for the future. If people have a good 
experience with your collection online and the rest of your website and feel 
connected with you on a personal level, that may prime them to visit the next 
time they're in the area, or to talk you up and spread the word (The Brooklyn 
Museum is a way cool place.).

Deb Wythe
Brooklyn Museum

deborahwythe at hotmail.com 




From: maggie.han...@gmail.com
Date: Wed, 27 Apr 2011 12:24:06 -0700
To: mcn-l at mcn.edu
Subject: [MCN-L] Online Collections Publication

(*I apologize if anyone has already received this message.  I'm having
trouble with my subscription so I'm trying from a different email address!*)
 
Hi, all!
 
We are in the nascent stages of publishing museum objects online.  I?ve
recently had a few staff members ask questions and raise concerns about
online publication hurting exhibition catalog sales (and that general idea).
 This is an old concern that I know has been disputed and calmed over the
past decade or so, but it?s a new concept/process for some of our staff.
 I?d like to share some examples or refer concerned parties to statistics
that show that online publication of collections has been shown to *increase
* attendance and sales.  I know that there are good quotes in the *LA Art
Online* report; can anyone point me toward other reports, stats, or personal
anecdotes that I could share?  Thanks so much!
 
Maggie
 
 
 
__
 
*Maggie Hanson*
 
Collections Information Manager | Portland Art Museum
 
 
 
*T* | +1 503.276.4224
 
*F* | +1 503.226.4201
 
*twitter* | @pamcollections http://twitter.com/pamcollections

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[MCN-L] DAMs

[Deborah Wythe]

I would also urge you to build a test period into your contract where you have 
time to implement and be sure that everything works as it is supposed to. Tie 
your final payment to that approval process. 

Deborah Wythe
Brooklyn Museum

deborahwythe at hotmail.com 




 From: mcgovernmh at cmog.org
 To: mcn-l at mcn.edu
 Date: Fri, 29 Apr 2011 09:15:49 -0400
 Subject: Re: [MCN-L] DAMs
 
 Beth,
 
 I agree wholeheartedly with John.  We also used a test demonstration script 
 with test assets.  It was a wonderful evaluation tool.
 
 Megan
 
 
 Megan McGovern
 Digital Asset Specialist 
 Corning Museum of Glass 
 607.438.5329 office (new)
 607.684.5890 cell
 mcgovernmh at cmog.org 
 
 
 
 -Original Message-
 From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of 
 John Bedard
 Sent: Friday, April 29, 2011 8:45 AM
 To: Museum Computer Network Listserv
 Subject: Re: [MCN-L] DAMs
 
 Beth,
 
 The best advice I can offer for a selection process of any system once you 
 narrow the field is to prepare a test script.  Give the vendor a specific 
 script to follow, with data you provide.  This helps you understand exactly 
 much better what a system will and will not do in your environment. Much more 
 helpful than a canned vendor presentation.
 
 Learned this from Steve Jacobson of JCA and found it to be an extremely 
 valuable tool in any software selections process.
 
 John
 
 
 On Thu, Apr 28, 2011 at 14:09, Beth Heller
 bheller at americanalpineclub.orgwrote:
 
  I just wanted to thank everyone who posted which DAMs they were using 
  and why.  I think we are going to explore a bit further with 
  Fedora/Islandora/Solr, but David Dwiggins spent a great deal of time 
  on the phone with me showing me ResourceSpace and it was really 
  impressive.  The main thing I've learned is that there is no 
  out-of-the-box one-thing-does-it-all solution, so we will have to sort 
  through which layers will work best together.  Anyone who has advice 
  navigating this part of the project will be welcome!  Specific costs 
  and vendors/developers and pros and cons of various APIs please! And 
  much gratitude goes to Leala for her time and suggested resources as 
  well!
  Beth
 
 
  _
  _
 
  Beth Heller
  Library Director
  The American Alpine Club
  (303) 384-0110 ext. 21 lbauer at americanalpineclub.org 
  bheller at americanalpineclub.org
 
  http://americanalpineclub.org
  http://booksearch.americanalpineclub.org
  http://www.facebook.com/americanalpineclublibrary
  http://www.facebook.com/pages/American-Alpine-Club-Library/12332414104
  4052
  
 
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  Computer Network (http://www.mcn.edu)
 
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  http://toronto.mediatrope.com/pipermail/mcn-l/
 
 
 
 
 --
 John R. Bedard  |  Director of Information Systems Minneapolis Institute of 
 Arts 2400 Third Avenue South Minneapolis, MN 55404
 
 612-870-3268  |  JBedard at artsmia.org  |  www.artsmia.org
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[MCN-L] scholarly publishing specs

[Deborah Wythe]

Apropos of our recent thread on how and on what terms people are providing 
images to scholars and conversations we're having here about possibly 
increasing the size of images we provide on our website, I wanted to open a 
discussion of what they really need. 

We're always asked for full-size, high-resolution TIFF files. Our press office, 
however, regularly provides large JPEGs to magazines and newspapers -- they 
rarely require TIFFs. 

So the question is: for a half-page reproduction in a scholarly journal (not a 
glossy catalog or special use), what would be adequate? (Are they really using 
all of those bits and bytes we send them in a 60 Mb file? It doesn't always 
look like it.) 

If anyone has contacts in the publishing field, I'd be very interested in their 
comments. If we could come up with a collective standard, it would make it 
easier all around -- we'd know what to post and make available, researchers 
would know what was expected by publishers.  

Please feel free to re-post to other, related lists. 

Deb Wythe
Brooklyn Museum


deborahwythe at hotmail.com 


  

[MCN-L] Update on Images for Academic Publishing...?

[Deborah Wythe]

All images of objects not protected by copyright on the Brooklyn Museum 
website's Collections pages may be downloaded free of charge, without 
requesting permission, for personal, non-profit use. They're not large files, 
but fine for web use, college papers, or PowerPoint presentations. Researchers 
who are working on scholarly publications and require higher resolution files 
should contact our Image Services staff member: depending on whether new 
photography or scans are required (or not), fees may be reduced.

http://www.brooklynmuseum.org/image_services.php

Deborah Wythe
Brooklyn Museum
Digital Collections and Services


deborahwythe at hotmail.com 




From: sbe...@lclark.edu
Date: Mon, 25 Apr 2011 12:57:38 -0700
To: mcn-l at mcn.edu
Subject: [MCN-L] Update on Images for Academic Publishing...?

**Please excuse cross-posting!**
 
Hello collective wisdom,
 
I wanted to update my records on which museums and institutions offer images
for academic publishing, so that if a faculty member wants information on
what is available out there for high-quality imagery for their upcoming
publication, I will have an updated list.
 
At VRA/ARLIS 2011, ARTstor presented on the expansion of their IAP program,
so I am already aware of what they are doing. My records are now outdated
and consist of the VA Museum and the British Museum. Does anyone know of
others? Also, I know that stipulations usually require a print run of 4,000
or less and may have other usage restrictions.
 
In addition to ARTstor, I am also aware of VADS, Bridgeman Art Library,
AKG-images, and of course, Art Resource. From the VRA Listserve, I was able
to add AICT and Yale University Art Gallery my no-cost list and the New York
Public Library, the Granger Collection, and Archivision as some for-a-fee
options.
 
Are there other similar services?
 
Thank you so much!

Stephanie Beene (MA and MSIS)
Visual Resources Coordinator
Lewis and Clark College
0615 SW Palatine Hill Rd.
Portland, OR 97219-7899
sbeene at lclark.edu
Phone: (503) 768-7387
Fax: (503) 768-7282
*Visit us @:*
http://library.lclark.edu/vrc -- Lewis  Clark's VRC's Website
http://accessceramics.org/ -- accessCeramics, a Contemporary Ceramics
resource
http://lcvrc.blogspot.com/, Image/Idea, Lewis  Clark's VRC Blog

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[MCN-L] File Naming

[Deborah Wythe]

You can go up to 255 characters in a file name without most systems gulping.
Deb Wythe

deborahwythe at hotmail.com 




 From: jfevans at princeton.edu
 Date: Tue, 22 Feb 2011 11:57:20 -0500
 To: mcn-l at mcn.edu
 Subject: Re: [MCN-L] File Naming
 
 No - just stay away from commas, periods, / slashes, %, , and if you can 
 keep it below 18 characters you are in good shape. 
 
 
 
 Jeffrey Evans
 Photographer, Digital Imaging Specialist
 Princeton University Art Museum
 jfevans at princeton.edu
 609.258.8579
 princetonartmuseum.org
 
 On Feb 22, 2011, at 11:16 AM, Silvia Ros wrote:
 
  Dear all,
  Is there any sort of problem with including a hyphen in the name of a file?
  
  
  Silvia Ros
  Photographer / Visual Resources Manager
  
  The Wolfsonian
  FLORIDA INTERNATIONAL UNIVERSITY
  
  1001 Washington Avenue
  Miami Beach, Florida  33139
  t  305-535-2628
  f  305-531-2133
  silvia at thewolf.fiu.edu
  www.wolfsonian.org
  
  Join Us
  Membership
  
  Add Us
  facebook
  
  Follow Us
  twitter
  
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  YouTube
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[MCN-L] Brooklyn Museum Split-Second project

[Deborah Wythe]

The Brooklyn Museum has just launched a new project -- check it out, 
participate online!

http://www.brooklynmuseum.org/opencollection/labs/splitsecond/

This is an experiment to explore how our
initial reaction to a work of art is affected by what we know, what
we're asked, and what we're told about the object in question. By
participating, you're helping determine the content of an installation
opening in July 2011.

Deb Wythe
Brooklyn Museum

deborahwythe at hotmail.com 


  

[MCN-L] Analog tape to digital conversion services

[Deborah Wythe]

The Association of Moving Image Archivists website has excellent resources, 
including for audio:
http://www.amianet.org/resources/links.php#edu


Electronic Arts Intermix also has excellent preservation pages -- mostly about 
video, but there's audio info in there, too:
http://www.eai.org/resourceguide/preservation.html
It's been around awhile, but the (c) statement is 2009, so presumably updated.

Chris Lacinak (http://www.avpreserve.com/) is knowledgeable and has been very 
generous with advice over the years. 

The LOC digital preservation pages might be of help:
http://www.digitalpreservation.gov/news/2010/news_archive1003.html

Good luck!
Deb Wythe
Brooklyn Museum
deborahwythe at hotmail.com 


 From: chuck.patch at gmail.com
 Date: Wed, 15 Sep 2010 19:29:25 -0400
 To: mcn-l at mcn.edu
 Subject: [MCN-L] Analog tape to digital conversion services
 
 I've been asked about services that perform digitization of analog audio
 (reel-to-reel) tapes. Has anyone used such a service that they could
 recommend? A couple of related questions - are there digital storage media
 for audio considered remotely archival? Or is it similar to visual data
 that's best kept on spinning disk and migrated in perpetuity? What types of
 meta-data can one ask a service provider of this sort to embed in the files?
 
 
 -- 
 Chuck Patch
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[MCN-L] IP SIG - orphan works question

[Deborah Wythe]

We treat objects where we've confirmed the copyright status and rights 
statement (i.e. acquired a license) differently from those where we're assuming 
that the works may be protected by copyright and we'll eventually be tracking 
down the artist.

The first has a detailed copyright statement: 
   (c) Joan C. Artist

The second, a boilerplate statement:
   (c) artist or artist's estate 
...that's exactly as written, without an actual name inserted (it took some 
doing to get this across to the web programming folks!)

The pop up rights explanation has all the mays, mights and we don't 
warrants to let people know that this is not a legal opinion. 

Yes, some of the latter works may indeed be in the public domain, but the 
reality is that we'll never have the time to research status on all of them and 
even if we do, the next person who wants to use the image is going to have to 
confirm our research themselves, since our determination could be challenged. 

I think this is better than leaving it blank -- we may not have the
final answer, but if we indicate could be in copyright or no known
copyright restrictions, it's going to give the website visitor a clue or 
starting place.  


The project I worked on last week -- helped by several folks on this list -- 
took  a solid day's work to gather all the information we needed to satisfy 
ourselves that the work was in the public domain...or no known copyright 
restrictions, to play it safe. For one work among thousands. How many of those 
can we do a year? Honestly, it's easier to find a contact person and simply ask 
for a license, which is mostly what we do when we can.  

Deb Wythe
Brooklyn Museum

deborahwythe at hotmail.com 

 From: evesinaiko at earthlink.net
 To: mcn-l at mcn.edu
 Date: Tue, 11 May 2010 15:59:44 -0400
 Subject: Re: [MCN-L] IP SIG - orphan works question
 
  Amalyah Keshet 
 
  I agree entirely with Peter, who has answered this question far more
 elegantly than I could.
  
  We never think twice about using the phrase (c) the artist as a default,
 if that's the only
  information or best guess we have, or if the artist or copyright owner
 doesn't answer our
  enquiries.
 
 Amalyah (and others): When you put the phrase (c) the artist on an artwork
 image, without having confirmed that the artist did indeed retain the
 copyright, do you note (as Peter suggests) that this is a presumed
 copyright? In publishing, the practice in such instances is usually to be
 silent, rather than commit to print a copyright assertion that may be
 erroneous. 
 
 I like the idea of publishing a presumed or probable copyright. It gives
 the reader some guidance without absolutely confirming what may not be
 correct. I'm thinking here of the confusions that arise when an artist's
 estate has more than one heir, and with the copyright for a particular work
 being gifted or assigned. The latter didn't happen too often in the past,
 but it did arise occasionally and seems to be getting more common.
 
 In print publishing, it has usually been the practice not to add a (c) the
 artist notice unless the artist or estate has requested one in writing. I
 think publishers would be very leery of adding copyright notices unless a
 rights holder told them to do so, but in omitting that information, they are
 probably contributing to the general confusion. I know of no practical
 guidelines for publishers on this...  
 
 Regards,
 Eve Sinaiko
 New York 
 
 
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[MCN-L] copyright question

[Deborah Wythe]

Hi Peter, 

Not that most of us have the time to do this for every work in our collections, 
but I have to say that digging in and doing the research on this work has been 
fun, especially for a former archivist who now deals in things digital rather 
than analog. I've found a good deal of information in the Archives of American 
Art, including a public exhibition prior to our purchase of the work and 
indication that the artist had a relationship with the gallery that sold us the 
work, so it was likely a private sale as you indicated below. 

And yes, there is an estate and a licensing agency out there, so we'll have to 
be very diligent about our documentation. I would love to blog about this 
project, but not sure if that's going to be possible. 

Thanks for the advice and the handholding! It's easier to feel comfortable with 
accepting risk when someone knowledgble has weighed in!

Deb Wythe

deborahwythe at hotmail.com 




 From: pbh6 at cornell.edu
 To: mcn-l at mcn.edu
 Date: Mon, 3 May 2010 15:17:26 -0400
 Subject: Re: [MCN-L] copyright question
 
 It sounds, Deb, like you might be in the clear.  I am going to assume that 
 New York Graphic Society (the defendant in the Pushman case, btw) registered 
 its work as an art reproduction, a category of work covered by the 
 copyright law and with some basis in case law (i.e., Alfred Bell v. Catalda 
 Fine Arts, which found that mezzotint engravings of public domain works had 
 enough originality in their own right to be copyrighted).  Publication of the 
 art reproduction in 1940 would also have published the original work (if it 
 hadn't been published before) - assuming, of course that NYGS had the 
 copyright owner's permission to reproduce the painting.  If the original work 
 did not have a copyright notice on it, it would have entered the public 
 domain.  (NYGS's notice would only have applied to its reproduction.)  If the 
 original did have a copyright notice, then it would have had to have been 
 registered and renewed.  You indicate that there is no renewal for the 
 painting - only fo
  r the derivative work.
 
 I think there is likely to be a strong public domain case for the painting.  
 But again, if the artist's estate disagrees, they might be willing to take it 
 to court.  And a judge might decide to rule based on the fairness of 
 current law rather than the case law as extant under the 1909 Copyright Act.
 
 I once investigated the copyright status of American Gothic, and came to a 
 similar strong conclusion that the original painting is in the public domain, 
 in spite of what the Chicago Art Institute and VAGA have to say.  VAGA does 
 administer the publicity rights of Grant Woods's sister, Nan Woods Graham, 
 who was the model for the woman in the painting.  Anyone wanting to use the 
 public domain painting in a commercial setting still needs to take into 
 account her publicity rights.  So don't just think about copyright.
 
 Peter
 
 -Original Message-
 From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of 
 Deborah Wythe
 Sent: Monday, May 03, 2010 2:49 PM
 To: mcn-l at mcn.edu
 Subject: Re: [MCN-L] copyright question
 
 
 Thanks, Peter. as always, you've covered the bases thoroughly and clearly. 
 Would that copyright itself was that clear! Looks like my next step is to try 
 to research the provenance more deeply. I know where we acquired the 
 painting, but not whether the original sale was from the artist to that 
 gallery. 
 The 1940 registration was not in the name of the artist, but of the New York 
 Graphic Society, a print company with a Living American Artists series.
 
 Best,
 Deb
 
 deborahwythe at hotmail.com 
 
 
 
 
  From: pbh6 at cornell.edu
  To: mcn-l at mcn.edu; musip at yahoogroups.com
  Date: Mon, 3 May 2010 14:09:45 -0400
  Subject: Re: [MCN-L] copyright question
  
  Deb, it sounds like what you are asking is when was this painting published 
  for copyright purposes.  That, as you know, is often a very difficult 
  question to answer.  There are lots of possibilities:
  
  1.  Did the artist offer the painting for sale to the public in 1928?  If 
  she did, and there is no copyright notice on the painting, it entered the 
  public domain at that time.
  2.  If there was a private sale, the party purchasing the painting most 
  likely acquired copyright in the painting (under the Pushman Doctrine), 
  unless there was a clause to the contrary.  If the copyright owner then put 
  the work on public display and did not restrict the public from making 
  copies of it, it entered the public domain.
  3.  Did the 1938 appearance in the journals constitute first publication?  
  Perhaps - if the images appeared with the permission of the copyright 
  owner.  Unauthorized publication does not affect copyright status.  (This, 
  btw, is why Happy Birthday is supposed to be still protected by 
  copyright.  Earlier publications of the song were unauthorized.)
  4

[MCN-L] copyright question

[Deborah Wythe]

Thanks, Peter. as always, you've covered the bases thoroughly and clearly. 
Would that copyright itself was that clear! Looks like my next step is to try 
to research the provenance more deeply. I know where we acquired the painting, 
but not whether the original sale was from the artist to that gallery. 
The 1940 registration was not in the name of the artist, but of the New York 
Graphic Society, a print company with a Living American Artists series.

Best,
Deb

deborahwythe at hotmail.com 




 From: pbh6 at cornell.edu
 To: mcn-l at mcn.edu; musip at yahoogroups.com
 Date: Mon, 3 May 2010 14:09:45 -0400
 Subject: Re: [MCN-L] copyright question
 
 Deb, it sounds like what you are asking is when was this painting published 
 for copyright purposes.  That, as you know, is often a very difficult 
 question to answer.  There are lots of possibilities:
 
 1.  Did the artist offer the painting for sale to the public in 1928?  If she 
 did, and there is no copyright notice on the painting, it entered the public 
 domain at that time.
 2.  If there was a private sale, the party purchasing the painting most 
 likely acquired copyright in the painting (under the Pushman Doctrine), 
 unless there was a clause to the contrary.  If the copyright owner then put 
 the work on public display and did not restrict the public from making copies 
 of it, it entered the public domain.
 3.  Did the 1938 appearance in the journals constitute first publication?  
 Perhaps - if the images appeared with the permission of the copyright owner.  
 Unauthorized publication does not affect copyright status.  (This, btw, is 
 why Happy Birthday is supposed to be still protected by copyright.  Earlier 
 publications of the song were unauthorized.)
 4.  Was the 1940 registration in the name of the artist, or was it a 
 registration to protect the print made from the painting?  If the latter, 
 then the publication of the derivative work would have published the original 
 work as well.  Failure to separately renew copyright in the original work 
 would have placed it in the public domain.
 
 My guess is that the painting, like probably 90% of the pre-1960 artwork in 
 American museums, is in the public domain.  But you also need to think about 
 risk assessment.  Does the artist's estate believe in asserting copyright, 
 even when none exists?  Is it important enough to you to take them on?
 
 Peter
 
 Peter B. Hirtle
 Senior Policy Advisor
 Scholarly Resources and Special Collections 
 Cornell University Library
 221 Olin Library
 Ithaca, NY  14853
 mailto:peter.hirtle at cornell.edu
 t.  607.255-4033
 f.  607.255-2493
 http://vivo.cornell.edu/individual/vivo/individual23436
 
 
 
 -Original Message-
 From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of 
 Deborah Wythe
 Sent: Monday, May 03, 2010 12:17 PM
 To: musip at yahoogroups.com; mcn-l at mcn.edu
 Subject: [MCN-L] copyright question
 
 
 Here's a question for the copyright mavens among us:
 
 A painting, created in 1928, was published as an image without copyright 
 notice in 1938 in articles in Art News and Art Digest. 
 
 A print of the work was published and copyright registered in 1940 and 
 renewed in 1968. 
 
 In the former case, the work is not under copyright. 
 In the latter, it is protected until 95 years after 1940, or 2035.
 (I'm basing this on Peter Hirtle's 
 http://www.copyright.cornell.edu/resources/publicdomain.cfm)
 
 Is the painting a different work?
 Or is its (c) status affected by the later publication?
 
 Thanks for your input!
 Deb Wythe
 Brooklyn Museum
 
 deborahwythe at hotmail.com 
 
 
 
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[MCN-L] Reasons for providing public wi-fi

[Deborah Wythe]

Hi all, 
I  passed the thread to Shelley Bernstein, our Technology Chief, so she could 
comment directly on the Brooklyn Museum's wi-fi. Here's her response.
Deb Wythe

Hi Jeff,

I just wanted to quickly weigh in on the wifi install at Brooklyn.  The project 
was first conceived of as a community project - we had a new public plaza 
completed in 2004 and wanted to make it a welcoming place for the community.  
The original phase of the project was small in scope -- setup the initial 
network and get the Plaza, the Sculpture Garden and other public spaces online. 
It made sense given our mission and the new building project.  I'm not sure 
that my recollection differs that much from Matt's - he is correct that later 
expansion inside the building meant showing different business cases, but the 
original project was thought of much differently - at least that's the way I 
conceived of the project.   Interestingly, I think it makes a nice use case - 
if it fits within mission, that can help you get started and then grow from 
there as needed to fulfill other objectives.

I'm actually not on this list, so am asking Deb to post for me (thanks, Deb!).  
If you have questions, I'm happy to answer them via email, first.last at 
brooklynmuseum.org.

Many thanks,

Shelley Bernstein
Chief of Technology
Brooklyn Museum


deborahwythe at hotmail.com 




 From: nschulz at ctsciencecenter.org
 To: mcn-l at mcn.edu
 Date: Thu, 29 Apr 2010 13:15:34 -0400
 Subject: Re: [MCN-L] Reasons for providing public wi-fi
 
 Here at the Connecticut Science Center, our wireless access points are setup 
 with 3 SSID's.  Two are hidden and one is public.  We have allocated a 
 certain about of bandwidth just for the public wireless VLAN.   
 
 **
 Check out our EVENTS Calendar here!
 
 Follow us on 
 **
 
 Nicole Schulz
 IT Manager
 Connecticut Science Center 
 250 Columbus Blvd.
 Hartford, CT 06103
 860.520-2114
 860.727.0850 (fax)
 nschulz at ctsciencecenter.org 
 
 www.CTScienceCenter.org  |  (860) SCIENCE  
 
 -Original Message-
 From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of 
 Christina DePaolo
 Sent: Thursday, April 29, 2010 1:09 PM
 To: Museum Computer Network Listserv
 Subject: Re: [MCN-L] Reasons for providing public wi-fi
 
 Hi,
 For those of you who offer public wi-fi, do mind sharing how you made it 
 happen? What were the barriers you had to address? Visitors are asking for 
 free wi-fi at SAM but our IT department is holding back because of resource 
 issues, I think it has to do with bandwidth.
 
 Christina
 
 -Original Message-
 From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of 
 Morgan, Matt
 Sent: Thursday, April 29, 2010 9:41 AM
 To: Museum Computer Network Listserv
 Subject: Re: [MCN-L] Reasons for providing public wi-fi
 
 At Brooklyn Museum our philosophical rationale was largely community-based, 
 but our funding rationale was mostly about collections database access for 
 staff in storerooms and galleries--there was sort of a three-pronged approach 
 of
 
 * VPN access to network from anywhere in the building
 * gallery technology like kiosks and handhelds and ...
 * general public access.
 
 Matt
 
 -Original Message-
 From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of 
 Steward, Jeff
 Sent: Thursday, April 29, 2010 12:25 PM
 To: mcn-l at mcn.edu
 Subject: [MCN-L] Reasons for providing public wi-fi
 
 Hello all,
 
 For those of you that offer public Wi-Fi at your institution what were your 
 reasons for doing so? Was it just as a perk to your visitors or was there 
 something more to it?
 
 Thanks,
 Jeff
 
 
 --
 Jeff Steward
 Architect for Applications Development
 617-495-0785
 jeff_steward at harvard.edumailto:jeff_steward at harvard.edu
 
 Harvard Art Museum
 32 Quincy Street, Cambridge, MA 02138
 www.harvardartmuseum.orghttp://www.harvardartmuseum.org
 
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[MCN-L] Luna and The Museum System

[Deborah Wythe]

Hi Sandy,

We have a two-way connection between Luna and TMS at the Brooklyn Museum.
 
Workflow is this:
- images and metadata records are loaded into Luna in batches, including the 
object accession number as the object identifier
- overnight, accession numbers are matched up to TMS and images (768pix and 
thumbnail) are linked to TMS records. As I recall, the thumbnail is in TMS (a 
blob) and the fullsize image file info points back to Luna storage. Only very 
minimal image metadata is written to the media record. 
- over the weekend, selected object metadata (tombstone data) is copied from 
TMS into Luna (we'd love to do this more often, but the collection is so large 
that the reindexing takes too long to do it overnight)

Here's some more information:
http://www.brooklynmuseum.org/community/blogosphere/bloggers/2009/01/08/pictures-pictures-pictures/

The scripting was done by an in-house database programmer working on a 
collections-invetory grant -- I can't tell you how long it took, since he was 
working on other projects at the time, but it probably took about 6 months to 
get the whole system up and running, from creating our metadata templates and 
loading a big chunk of the backlog to getting the TMS links activated. Luna 
support staff were helpful; we didn't have to budget for services for 
customization. We started with the TMS to Luna link, so Luna users would have 
access to object data, and then added the Luna to TMS link after that was set, 
so we could stop the multi-click manual linking process.  

Our website pulls images and data from Luna, object data from TMS and 
additional info from a content management database. We use the Luna 6.0 Web 
browser for staff access in house, but not on the website. A lot of the work is 
documented on our blog -- just select Technology to read more.

Good luck!
Deb Wythe

deborahwythe at hotmail.com 




 Date: Wed, 28 Apr 2010 18:26:58 -0400
 From: SMoore at toledomuseum.org
 To: mcn-l at mcn.edu
 Subject: [MCN-L] Luna and The Museum System
 
 An inquiry:  Who out there is utilizing an interface between Luna and The 
 Museum System, what is the purpose of that interface, and what amount of 
 resources (time/staff/money) was put into it to make it happen?  As always, 
 thanks!
  
 Sandy Moore
 The Toledo Museum of Art
  
  
  
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[MCN-L] Brooklyn Museum images to Wikimedia and Internet Archive

[Deborah Wythe]

The next big step for the Brooklyn Museum in opening up our collections and, 
more importantly, taking them to where the people are: we're now uploading 
images and collections data to Wikimedia and the Internet Archives. 

More details from Technology Chief Shelley Bernstein here:

http://www.brooklynmuseum.org/community/blogosphere/bloggers/2010/04/12/cross-posting-the-collection-to-wikimedia-commons-and-the-internet-archive/

Deb Wythe
Brooklyn Museum
deborahwythe at hotmail.com 


  
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[MCN-L] FW: Brooklyn Museum goes live with rights info

[Deborah Wythe]

It is indeed a LOT of work -- I've done more database crunching in TMS for this 
project than I ever hope to have to do again. Thanks be for our TMS 
administrator, Chrisy Ledakis, who was able to do batch updates to the object 
rights type field --once I had ID'd the objects that belonged to each rights 
type. And to her energetic data entry staff, who helped populate the records 
where the initial value was mysteriously null (those of you who are TMS users 
know how null-phobic that system is). 

And, of course, consulting the legal eagles along the way makes the process 
slower...but takes some of the responsibility off my shoulders. 

Thanks to everybody for your kind remarks. We're tired, but pleased
Looking forward to seeing your website go transparent, too!

Deb
Brooklyn Museum

deborahwythe at hotmail.com 




 From: akeshet at imj.org.il
 To: mcn-l at mcn.edu
 Date: Wed, 13 Jan 2010 17:18:39 +0200
 Subject: Re: [MCN-L] FW: Brooklyn Museum goes live with rights info
 
 Deb:
 
 Well done!  We're heading in the same direction (shall we both point out that 
 it's a LOT of work, and insanely complicated?) but you and the Brooklyn 
 Museum deserve a lot of credit for doing this first, and really well.
 
 Amalyah Keshet
 Head of Image Resources  Copyright Management
 The Israel Museum, Jerusalem
 Chair, MCN IP SIG 
 
 
 
 -Original Message-
 From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of 
 Deborah Wythe
 Sent: Tuesday, January 12, 2010 10:38 PM
 To: mcn-l at mcn.edu
 Subject: [MCN-L] FW: Brooklyn Museum goes live with rights info
 
 
 Should have included this link!
 http://www.brooklynmuseum.org/community/blogosphere/bloggers/2010/01/12/doing-the-right-thing/
 DW
 
 deborahwythe at hotmail.com 
 
 
 
 
 From: deborahwythe at hotmail.com
 To: mcn-l at mcn.edu
 CC: shelley.bernstein at brooklynmuseum.org
 Subject: Brooklyn Museum goes live with rights info
 Date: Tue, 12 Jan 2010 15:36:45 -0500
 
 
 In honor of World Fair Use Day, the Brooklyn Museum has just released a new 
 version of its collections pages that includes rights information for all 
 works. We'll be blogging about the project over the next couple of days--it 
 has been a fun ride getting ready!
 
 Deb Wythe
 Brooklyn Museum 
 
 deborahwythe at hotmail.com 
 
 
 
 
 
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[MCN-L] Brooklyn Museum goes live with rights info

[Deborah Wythe]

In honor of World Fair Use Day, the Brooklyn Museum has just released a new 
version of its collections pages that includes rights information for all 
works. We'll be blogging about the project over the next couple of days--it has 
been a fun ride getting ready!

Deb Wythe
Brooklyn Museum 

deborahwythe at hotmail.com 


  
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[MCN-L] FW: Brooklyn Museum goes live with rights info

[Deborah Wythe]

Should have included this link!
http://www.brooklynmuseum.org/community/blogosphere/bloggers/2010/01/12/doing-the-right-thing/
DW

deborahwythe at hotmail.com 




From: deborahwy...@hotmail.com
To: mcn-l at mcn.edu
CC: shelley.bernstein at brooklynmuseum.org
Subject: Brooklyn Museum goes live with rights info
Date: Tue, 12 Jan 2010 15:36:45 -0500








In honor of World Fair Use Day, the Brooklyn Museum has just released a new 
version of its collections pages that includes rights information for all 
works. We'll be blogging about the project over the next couple of days--it has 
been a fun ride getting ready!

Deb Wythe
Brooklyn Museum 

deborahwythe at hotmail.com 


  
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[MCN-L] Comments on your collections online

[Deborah Wythe]

Hi Perian--

People can comment on the Brooklyn Museum's collections pages. See:

http://www.brooklynmuseum.org/opencollection/collections/

If you scroll down, you can see recent comments, or just browse around the 
collection and see what turns up. 

Deb Wythe
deborahwythe at hotmail.com 






 Date: Tue, 8 Dec 2009 11:15:55 -0800
 From: psully at magnes.org
 To: mcn-l at mcn.edu
 Subject: [MCN-L] Comments on your collections online
 
 Hi everyone:
  
 I'm preparing a lecture (tomorrow) about collections access and the
 creation of wonder and discussion. I know I've seen some museum
 collections online that allow for comments on their site, and have
 generated some great discussions between users. Aaaand, of course, I
 can't seem to remember which sites those were.
  
 SO! Do any of you know/have collections online that allow for user
 comments? Have you seen some great discussions between users that have
 served to enlighten the staff and public alike?
  
 Thanks in advance and hope y'all are staying warm.
  
 Best,
  
 ~Perian
  
 Perian Sully
 Collections Information Manager
 Web Programs Strategist
 The Magnes
 2911 Russell St.
 Berkeley, CA 94705
 Work: 510-549-6950 x 357
 Fax: 510-849-3673
 http://www.magnes.org
 http://www.musematic.org
 http://www.mediaandtechnology.org
  
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[MCN-L] how paperless is your museum?

[Deborah Wythe]

We had a conversation this morning with the director about greening the museum 
and one of the things that came up was going paperless (where it makes sense -- 
I'm use to be the archivist, after all). He asked for some examples of museums 
who were doing it and doing it well.

Anybody out there want to put their museum out there as an example of a (pretty 
much) paperless shop?
What have you automated? Payroll? Personnel files? Purchase orders? Financial 
records? Loans? (I'm assuming that with CMS systems, a lot of object 
documentation is now paperless.)

And a related question: anyone with a full-fledged electronic records program 
up and running successfully? 

I browsed this year's MCN program (how I wish it was searchable...) and didn't 
find any references to paperless or electronic records.

Thanks, everybody!

Deb Wythe
Brooklyn Museum

deborahwythe at hotmail.com 


  
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[MCN-L] rights question

[Deborah Wythe]

The IP SIG meeting in Portland is going to consider the possibility of getting 
together and working on a fair use best practices for museum collections, along 
the lines of what the documentary film makers have done: 
http://www.centerforsocialmedia.org/rock/backgrounddocs/bestpractices.pdf. 
Other industry groups have banded together as well: there's safety in numbers 
and consensus (if you can reach it) and it might be a way for us not to have to 
reinvent the wheel at each institution. 

Deb Wythe
Brooklyn Museum
deborahwythe at hotmail.com 




 Date: Wed, 16 Sep 2009 12:46:03 -0400
 From: RealW at CarnegieMuseums.Org
 To: mcn-l at mcn.edu
 Subject: Re: [MCN-L] rights question
 
 Hi everyone,
 
 This is a timely discussion for us as we are looking ahead to a redesign
 of our web site and online collection.
 
 I believe that a few museums have taken the position that publishing
 copyrighted images, in thumbnail size only, on their online
 collections, is fair use. I don't know if they publish thumbnails of
 copyrighted works only after a reasonable effort to secure permission,
 or whether they simply publish them without asking. I believe they
 arrived at their policy with legal counsel.
 
 I don't think there is any commonly-accepted definition of what
 constitutes a thumbnail that would pass a fair use test (100 pixels? 250
 pixels?).
 
 I'd be interested to hear your opinions: is this approach is an emerging
 trend in the museum field, and/or is there is an emerging understanding
 in the field regarding what a thumbnail is?
 
 Our own legal counsel has suggested that it would be difficult to make
 generalized policies about which images could be published under this
 kind of approach; they recommended we consider each case on its own
 merits--not exactly what we were hoping to hear. In many ways it boils
 down to a risk assessment. 
 
 Will Real
 Carnegie Museum of Art
 Pittsburgh PA
 
 -Original Message-
 From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of
 Eve Sinaiko
 Sent: Tuesday, September 15, 2009 4:02 PM
 To: 'Museum Computer Network Listserv'
 Subject: Re: [MCN-L] rights question
 
  
  On Sep 14, 2009, at 2:29 PM, Weinstein, William wrote:
  
  We are evaluating our policy regarding obtaining rights for images of
  works we publish in our online collection section.   The issue of what
  to do with works where there is an apparent copyright holder that can 
  either not be contacted or does not respond to repeated permission 
  requests.  Does anyone have a position of what to do regarding works 
  in this particular state of limbo?
  
  Bill Weinstein
 
  Bill, legally if you do not have permission, you may not use the work.
  There is no mechanism in US copyright law to help you.  However, if 
  you are based in Canada, there is an unlocatable copyright owner 
  provision which can help you just in that circumstance.  And it is 
  possible that you can use it if using a Canadian work (though I would 
  have to double check to see who is eligible if you are not in Canada.)
  
  Lesley
  
  Lesley Ellen Harris
  lesley at copyrightlaws.com
  www.copyrightanswers.blogspot.com
 
 
 I think this is an incomplete answer. I'm not a lawyer, so I can only
 speak to how many publishers and museums are addressing this question in
 practical terms, on the ground. If I've gotten any of the legal aspects
 wrong, please correct me. 
 
 There are two kinds of in limbo works: 1) Those known still to be in
 copyright or probably in copyright (because they are not very old), for
 whom no rights holder can be found; and 2) those whose rights holder
 ignores repeated efforts to obtain permission. 
 
 The first group are Orphan Works (OWs)--works still in copyright for
 whom no known rights holder can be found. Congress has been working on
 legislation to deal with OWs for several years. Last year the Senate
 passed an OW bill, but the House version died. It's uncertain whether
 the bill will be revived any time soon or not. Absent an OW law, users
 must consider whether they may assert fair use. (At museums, a common
 type of OWs are archive photos of objects, where the object is out of
 copyright but the photo is not, the photographer's name is missing, and
 the museum has no document to indicate that the photo was made as a work
 for hire.)
 
 The second group includes works where the copyright holder has been
 found and is not responding, or works where it's not absolutely clear
 who the rights holder really is (e.g., two different nephews of a dead
 artist both claim to own the rights, or a work by an artist may have
 been made while he was on staff somewhere and therefore be a work for
 hire). 
 
 For the second group, as for the first, fair use may be an option. One
 also has to evaluate whether the use one wants to make of the work is
 protected under fair use (or in the UK, under fair dealing). The
 Stanford Fair Use Project has a very good, clear rundown of fair 

[MCN-L] IP: copyrighted images in didactics

[Deborah Wythe]

Hi all,

We'd be interested in knowing whether any other museums out there have 
established a policy or set a precedent on the use of copyrighted images 
(especially from commercial sources) as contextual illustrations on didactics 
or wall labels. Do you consider this fair use, or do you acquire permission/pay 
for rights just as you would for a book? Does the size of the reproduction play 
into the decision?

If people prefer to respond off list, I will summarize without naming names.

(I have checked the AAM guide to copyright and the Bielstein book on 
permissions--though not exhaustively--to no avail.)

Many thanks and with apologies for cross posting duplication,
Deborah Wythe
Brooklyn Museum
Digital Collections and Services

deborahwythe at hotmail.com 



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[MCN-L] a question about digital photography

[Deborah Wythe]

Hello!

There are some museum sites out there where scale is included. The Minneapolis 
Institute of Art's ArtsConnectEd site jumps to mind --  here's an example: 
http://www.artsconnected.org/resource/85763/4/a-cheap-and-ill-fitting-gorilla-suit
(click on the scale tab). Interestingly, they don't include this feature on the 
Museum's main collections pages.

As to 3-dimensionality, I've seen a few VR instances, such as we did with Judy 
Chicago's Dinner Party:
http://www.brooklynmuseum.org/eascfa/dinner_party/place_settings/webtour/
I don't think it's generally an option due to the high cost. 

We (and other museums) often provide multiple views, if we have them, such as 
here:
http://www.brooklynmuseum.org/opencollection/objects/3583/Head_of_a_King
Our curators almost always ask for multiple views when we do new photography, 
so there's at least a sense of the object from all (or most) sides.

Best,
Deborah Wythe

Head of Digital Collections and Services
Brooklyn Museum
deborahwythe at hotmail.com 




 Date: Thu, 30 Jul 2009 09:29:42 -0400
 From: kjones at hds.harvard.edu
 To: mcn-l at mcn.edu
 Subject: [MCN-L] a question about digital photography
 
 One of my students would like to know:
 
  
 
 Good morning Kathy, 
 
 Do you happen to know who might be dealing with two issues, scale and
 3-dimensionality, when capturing digital imagery of objects for online
 museum databases and is anyone at Harvard or MIT researching the
 feasibility and technology involved? Are these issues becoming more
 current because of museums' attempts to broaden audiences?
 
 Many thanks,
 
 Liza
 
  
 
  
 
 Thanks,
 
  
 
 Kathy Jones
 
 Research Advisor, Masters of Liberal Arts in Museum Studies, Harvard
 Extension School
 
  
 
 And
 
  
 
 Assistant Dean, Information Technology and Media Services
 
 Harvard Divinity School
 
 45 Francis Avenue, Andover Hall G20
 
 Cambridge, MA  02138
 
  
 
 617.495.1969 office, 617.495.0852 fax
 
 www.hds.harvard.edu
 
  
 
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[MCN-L] a question about digital photography

[Deborah Wythe]

Oops -- here's a call out for the Walker Art Center, which partnered with MIA 
in developing ArtsConnectEd. I would have remembered that if I had scrolled 
down on the page. 

Sorry Walker folks! Kudos for a great site!

Here's a link to some more info on it in the Walker's blog:
http://blogs.walkerart.org/ecp?s=artsConnectEd

Deb Wythe
Brooklyn Museum

deborahwythe at hotmail.com 


 
 From: mcn-l-bounces at mcn.edu [mcn-l-bounces at mcn.edu] On Behalf Of 
 Deborah Wythe [deborahwythe at hotmail.com]
 Sent: Thursday, July 30, 2009 9:53 AM
 To: mcn-l at mcn.edu
 Subject: Re: [MCN-L] a question about digital photography
 
 Hello!
 
 There are some museum sites out there where scale is included. The 
 Minneapolis Institute of Art's ArtsConnectEd site jumps to mind --  here's an 
 example: 
 http://www.artsconnected.org/resource/85763/4/a-cheap-and-ill-fitting-gorilla-suit
 (click on the scale tab). Interestingly, they don't include this feature on 
 the Museum's main collections pages.
 
 As to 3-dimensionality, I've seen a few VR instances, such as we did with 
 Judy Chicago's Dinner Party:
 http://www.brooklynmuseum.org/eascfa/dinner_party/place_settings/webtour/
 I don't think it's generally an option due to the high cost.
 
 We (and other museums) often provide multiple views, if we have them, such as 
 here:
 http://www.brooklynmuseum.org/opencollection/objects/3583/Head_of_a_King
 Our curators almost always ask for multiple views when we do new photography, 
 so there's at least a sense of the object from all (or most) sides.
 
 Best,
 Deborah Wythe
 
 Head of Digital Collections and Services
 Brooklyn Museum
 deborahwythe at hotmail.com
 
 
 
 
  Date: Thu, 30 Jul 2009 09:29:42 -0400
  From: kjones at hds.harvard.edu
  To: mcn-l at mcn.edu
  Subject: [MCN-L] a question about digital photography
 
  One of my students would like to know:
 
 
 
  Good morning Kathy,
 
  Do you happen to know who might be dealing with two issues, scale and
  3-dimensionality, when capturing digital imagery of objects for online
  museum databases and is anyone at Harvard or MIT researching the
  feasibility and technology involved? Are these issues becoming more
  current because of museums' attempts to broaden audiences?
 
  Many thanks,
 
  Liza
 
 
 
 
 
  Thanks,
 
 
 
  Kathy Jones
 
  Research Advisor, Masters of Liberal Arts in Museum Studies, Harvard
  Extension School
 
 
 
  And
 
 
 
  Assistant Dean, Information Technology and Media Services
 
  Harvard Divinity School
 
  45 Francis Avenue, Andover Hall G20
 
  Cambridge, MA  02138
 
 
 
  617.495.1969 office, 617.495.0852 fax
 
  www.hds.harvard.edu
 
 
 
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[MCN-L] NPG and Wikipedia (IP, website security)

[Deborah Wythe]

Interesting dustup. A Wikipedia person went in a backdoor on the NPG site and 
scraped fullsize images and posted them on Wikipedia as public domain. NPG 
brought 
in the lawyers to argue that in Britain the 2-D non-copyrightable precedent 
hasn't been argued. 





http://www.peoplepoints.co.nz/2009/07/wikimedia-commons-national-portrait.html

http://londonist.com/2009/07/national_portrait_gallery_to_sue_wi.php

http://commons.wikimedia.org/wiki/User:Dcoetzee/NPG_legal_threat

Website security: 
From the NPG cease  desist letter:
As you know, the images from our client?s website that you have copied were 
made available from our client?s website using Zoomify software. As you know, 
Zoomify is an application that is used to publish photographic images in such a 
way that an entire high resolution image is never made available to a user 
although high-resolution extracts or tiles are made available one-at-a-time. 
Our client used the Zoomify technology to protect our client?s copyright in the 
high resolution images.



NPG's policy/price sheet for web use:
http://www.npg.org.uk/business/images/use-on-web.php 

Deborah Wythe
Brooklyn Museum
deborahwythe at hotmail.com

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[MCN-L] Digital Media SIG: metadata terminology

[Deborah Wythe]

I know that some other DAMS folks out there are including a segment along the 
lines of what we're calling Museum Life -- people, activities, events -- all 
of those pictures of people doing fun and educational things around the museum. 
I would be curious to see examples of the metadata templates that others have 
come up with. 

Thanks!
Deb Wythe
Brooklyn Museum

deborahwythe at hotmail.com 



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[MCN-L] Need a list of DAMS options

[Deborah Wythe]

Hi Perian,

We're using Luna Insight at the Brooklyn Museum and have programmed a two-way 
path to TMS, our collection management system. Currently about 58,000 object 
images; 9,000 exhibition installation views; 9000 images from archives (plus a 
few from libraries).

Object data is written from TMS to Luna on a weekly basis (too many records, 
too long an indexing procedure to do it nightly) and media 
records/thumbnails/links to full-size images added to TMS from Luna nightly. 
Our Collection on the Web pulls images and image data from Luna, object data 
from TMS, and other content from a CMS. All of this done by our talented folks 
in Technology.

See the end result at http://www.brooklynmuseum.org/opencollection/collections/ 
and lots of posts by Shelley Bernstein (and a few by me) under 
community/blogs/bloggers.

Deb Wythe
Brooklyn Museum
deborah.wythe at brooklynmuseum.org

 -Original Message-
 From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of
 Perian Sully
 Sent: Friday, March 20, 2009 11:13 AM
 To: Museum Computer Network Listserv
 Subject: [MCN-L] Need a list of DAMS options
 
 Hi everyone:
 
  
 
 Sorry if this is a redundant question, but we're sticking our toe into
 DAMS territory soon and I'm being asked to outline all of the various
 options.
 
  
 
 I am currently aware of:
 
 Commercial DAMS:
 
 Extensis
 
 Luna Insight
 
 me
 
  
 
 Open Source DAMS:
 
 OpenEdit
 
 ResourceSpace
 
 Razuna
 
 (Omeka  Wordpress)
 
  
 
 I'm specifically looking for the range of products available, along with
 reviews. We're trying to figure out how to get the DAMS to talk to our
 CIS (IDEA at ALM, which uses MS SQL and does have some sort of API
 available with it, so it should be do-able), but we'll likely need to
 get a programmer to do that for us.
 
  
 
 Thanks in advance for your help. Feel free to reply to me offlist. I'll
 be setting up a Google Docs to organize the information, and I'd be
 happy to share that list once it's available.
 
  
 
 ~Perian
 
  
 
 Perian Sully
 
 Collections Information Manager
 
 Web Programs Strategist
 
 The Magnes
 
 2911 Russell St.
 
 Berkeley, CA 94705
 
 Work: 510-549-6950 x 357
 
 Fax: 510-849-3673
 
 http://www.magnes.org
 
 http://www.musematic.org
 
 http://www.mediaandtechnology.org
 
  
 
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[MCN-L] Brooklyn Museum collection API available

[Deborah Wythe]

For the developers among us and those interested in collection sharing --

The Technology staff at the Brooklyn Museum have just released our collection 
API so that outside programmers can query our data and create their own 
applications using it. For more information and links, see 
 http://tinyurl.com/bafq6u

Let's see what develops!

Deb Wythe
Brooklyn Museum
Digital Collections and Services

Brooklyn Museum Collection online is at 
 http://www.brooklynmuseum.org/opencollection/collections/ 
including objects,
exhibitions installation views
 http://www.brooklynmuseum.org/opencollection/exhibitions/
and archives/libraries materials
 http://www.brooklynmuseum.org/opencollection/archives/

deborahwythe at hotmail.com 



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RE: [MCN-L] Wikipedia Loves Art ‏‏

[Deborah Wythe]

For some blog postings by Shelley Bernstein, our Technology Chief and an 
organizer of Wikipedia Loves Art, see:

http://www.brooklynmuseum.org/community/blogosphere/bloggers/tag/wikipedia

Deb Wythe
deborahwythe at hotmail.com 




 From: akeshet at imj.org.il
 To: mcn-l at mcn.edu
 Date: Mon, 9 Feb 2009 20:53:35 +0200
 Subject: [MCN-L] Wikipedia Loves Art ??
 
 Is anyone on this list involved in the Wikipedia Loves Art project?
 
 If so, I for one would love to hear about it. 
 
 Amalyah Keshet
 Head of Image Resources  Copyright Management
 The Israel Museum, Jerusalem
 
 -
 
 http://en.wikipedia.org/wiki/Wikipedia:Wikipedia_Loves_Art
 
 Wikipedia Loves Art, the name being a play off Valentine's Day, is a 
 scavenger hunt and free content photography contest among museums and 
 cultural institutions worldwide, and aimed at illustrating Wikipedia 
 articles. The event is planned to run for the whole month of February 2009. 
 Although there are planned events at each location, you can go on your own at 
 any time during the month.
 
 The project is coordinated by the Brooklyn Museum, with the participation of 
 the Carnegie Museum of Art, the Film Society of Lincoln Center, the Honolulu 
 Academy of Arts, the Houston Museum of Natural Science, the Hunter Museum of 
 American Art, the Indianapolis Museum of Art, The Jewish Museum (New York), 
 the Los Angeles County Museum of Art, the Metropolitan Museum of Art, the 
 Museum of Modern Art, the New York Historical Society, the Smithsonian 
 American Art Museum, the Taft Museum of Art, the Victoria and Albert Museum. 
 In all, there are 15 different museums and cultural institutions 
 participating.
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[MCN-L] Low-cost digitization rig

[Deborah Wythe]

Some of the responses already bring up other issues to think about:It's not 
just the digitization rig and the accompanying software. Once you have 
something that handles the production end, you have to manage all of the 
files.And, if you want them to be accessible, you have to have a way to capture 
and manage the image metadata.Both of these things can be costly. Do people 
have the network space for hundreds or thousands of images? Do they have an 
effective backup system to protect the files? How are people to going to gain 
access to the files, both to manage them and as end users? If you really want 
an effective turn key system, it can't just be the digitization rig -- it's got 
to take into account what happens downstream. I know the Mellon Foundation has 
been supporting some open source solutions on the data side. Are you 
envisioning one of these dovetailing with the hardware/software package 
you're talking about here?Deb WytheBrooklyn MuseumDigital Collections and 
Services deborahwythe at hotmail.com  Date: Tue, 5 Aug 2008 18:06:10 -0400 
From: CJM at mellon.org To: mcn-l at mcn.edu Subject: [MCN-L] Low-cost 
digitization rig  Hi all; I'm writing today on behalf of Mellon's IT funding 
program (not our Museums and Art Conservation Program, which is a different 
entity). We're looking at an opportunity to fund a different kind of 
digitization project, and I wonder if I could ask for your thoughts about its 
likely usefulness in the museum/cultural heritage communities?  What 
we've got in mind is a digitization rig for small or medium-sized 2D 
digitization projects.  The project would use off-the-shelf hardware and open 
source software, packaged carefully to be extremely easy to set up and use, 
even with no prior training.  It would be able to handle almost any kind of 2D 
material up to a certain size (books, flat pages, images) non-destructively, 
would OCR the results, and would then deliver the documents as special, 
searchable PDFs that could reformat for any display devices (i.e., the text 
would 'flow' so that you could, e.g., read on your iPhone without having to 
scroll side-to-side or flip pages). Let me emphasize that it would be built to 
be operated by people with no digitization training whatsoever: staff, 
volunteers, students, etc.   The system would be easy to set up and 
self-calibrating; it would use pairs of consumer-grade cameras ($250-500) from 
any of several manufacturers. The software would run on any standard PC or 
laptop (Mac/Win/Lin), support one-button operation, provide automatic page 
de-warping, include automatic OCR, allow computer-assisted addition of 
metadata, and otherwise be set up to produce professional quality output even 
when used by complete amateurs. We anticipate the final cost of all hardware 
and software (including the cameras and PC or laptop to run everything), to be 
sub-$2,000.As you can infer from the above, this is not a system for 
digitizing fine art at very high resolution, but it is a curation-quality 
digitization system for text, whether diaries or handbills in a historical 
society or books in a museum library. Our goal is to bring digitization to the 
Long Tail of smaller collections out there in the world that are of 
potential cultural significance but where the likely audience is not large 
enough to attract the big, for-profit digitizers--or where the value or 
fragility is such that the works could not leave the institution to be 
scanned. Think of it as Google Books for the Rest of Us :-)I'd 
really appreciate the thoughts of those of you who know museums and cultural 
heritage organizations well, on three separable questions:  1. Does anyone 
know of any other project, currently available or in development, that might 
deliver the same functionality and price-performance?  2. If we build this, 
will institutions come? Are there many institutions out there with collections 
(including museum libraries) that their leaders would like to digitize, and 
which have labor (in some form) available to do the work, but for which the 
capital costs, expertise requirements, or other challenges of the current 
technology are the limiting factor?  3. If institutions do take advantage of 
this service, will they make the resulting content freely available?  (I'm not 
looking to rehash barriers like copyright, but rather to solicit 
information/thoughts that bear on the *willingness* of museums and cultural 
heritage organizations to publish such content freely.)  Two logistical 
matters.  First, may I ask that replies go to the list unless you really need 
confidentiality? I'd like to get as many different views as possible, 
including responses-to-responses. Second, please note that I'm soliciting 
feedback on these questions, not proposals or offers to be a test site. If we 
do move forward, I think we may indeed want to invite institutions to become 
test sites, but if so I'll be back in touch via the 

[MCN-L] Digital Asset Management System

[Deborah Wythe]

We are using Luna Insight as a DAMS at the Brooklyn Museum. I wouldn't say it 
speaks to TMS with ease -- there was a considerable programming effort involved 
by our IS staff -- but we are currently using them in tandem, doing a weekly 
TMS data copy to Luna for object metadata and an automated daily image 
load/link from Luna to TMS. We looked at several systems in 2005 and did not 
find one that made this kind of thing easy, but it's doable if your have people 
with time and skills.

Deb Wythe
Digital Collections  Services
Brooklyn Museum



deborahwythe at hotmail.com 


 Date: Wed, 9 Jul 2008 12:01:55 -0700
 From: Keith.Williams at phxart.org
 To: mcn-l at mcn.edu
 Subject: [MCN-L] Digital Asset Management System
 
 Hello-
 
  
 
 I am the Information Systems Manager for the Phoenix Art Museum and we
 are currently using Argus as our Collection Management System (CMS).  We
 are planning to upgrade soon to TMS as our CMS.  With this, we are also
 looking into a Digital Asset Management System (DAMS) that will speak
 with relative ease with TMS.  I was curious as to what other Museums
 that are using TMS as their CMS use as their DAMS and what their
 experiences have been with whatever DAMS they currently use.
 
  
 
 Thank you,
 
  
 
  
 
 Keith Williams
 Information Systems Manager
 
 PHOENIX ART MUSEUM  
 1625 NORTH CENTRAL AVENUE / PHOENIX / AZ / 85004
 TEL (602) 307-2056 / PHXART.ORG
 
 
 __
 
  
 
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[MCN-L] online exhibition -- CLICK! -- call for evaluations

[Deborah Wythe]

Hi all! Our IS manager/curator of this show has been looking for a larger and 
more diverse group of people to evaluate the photographs submitted for the show 
described below and on our website. It occurred to me that MCN might be a good 
place to look for some. 
Here's the link: http://www.brooklynmuseum.org/exhibitions/click/

Have fun!
Deb Wythe

Click! is a photography exhibition that invites Brooklyn Museum?s visitors, the 
online community, and the general public to participate in the exhibition 
process. Taking its inspiration from the critically acclaimed book The Wisdom 
of Crowds, in which New Yorker business and financial columnist James 
Surowiecki asserts that a diverse crowd is often wiser at making decisions than 
expert individuals, Click! explores whether Surowiecki?s premise can be applied 
to the visual arts?is a diverse crowd just as ?wise? at evaluating art as the 
trained experts?
 
If you know everything about art or nothing at all, create an account, log in 
and evaluate some of the works that have been submitted during our open call 
for Click! Evaluation can take a while, but you can do as little or as much as 
you want *and* you can log in anytime throughout the eval period which ends May 
23. We really need a diverse crowd and that means we need evaluators with range 
of knowledge (including none!) and varied geographic locations (including 
outside of Brooklyn!), so pass the word on to others.


Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145


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[MCN-L] Digital SIG: CMS Watch DAM project

[Deborah Wythe]

CMS Watch  is currently working on an analysis and review of Digital Asset 
Management systems (commercial/enterprise system). Their analyst, Theresa 
Regli, would be interested in interviewing people in the museum world who have 
had experience in this arena. Her contact info: Theresa Regli - CMS Watch --  
tregli [at] cmswatch.com

Seems like a good chance to get our needs out there and to participate in a 
project that may be helpful to future DAMS buyers. 

Deb Wythe
 

Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145
deborahwythe at hotmail.com

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[MCN-L] Kiosks - Macs vs. all-in-one CF media players

[Deborah Wythe]

There's more information on the Brooklyn Museum's kiosks on our blog -- 
here's a link to the software post:
http://www.brooklynmuseum.org/community/blogosphere/bloggers/2007/06/29/open-kiosk-firefox-2-version-now-available/
and there's some info on the hardware here:
http://www.brooklynmuseum.org/community/blogosphere/bloggers/2007/07/05/kiosk-hardware/

Shelley Bernstein, the person behind all of this, is on vacation at the 
moment, but you can email her at shelley.bernstein at brooklynmuseum.org if you 
have questions that the posts and the link to Mozdev don't answer.

Good luck with your project
Deb Wythe


Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145
deborahwythe at hotmail.com




Original Message Follows
From: dlewisa...@aol.com
Reply-To: Museum Computer Network Listserv mcn-l at mcn.edu
To: mcn-l at mcn.edu
Subject: [MCN-L] Kiosks - Macs vs. all-in-one CF media players
Date: Mon, 30 Jul 2007 03:29:31 EDT

Greetings all --

I'm a new subscriber here.   I spent a bit of time perusing the archives 
(fun
topics) but didn't specifically find this query addressed, so I tought I'd
bring it up.

We are in the final stages of fabricating free-standing exhibit kiosks.
All total there will be five separate kiosks (on per each time period of the
exhibit).   Each kiosk will house artifacts, interactives, and exhibit text, 
and
a computer/media-player element.My question is about this 
media-player

Initially I envisioned using a free-standing computer. I'm a Mac person so I
was considering a Mac Mini or a iMac, (perhaps with a touch-screen), and 
using
a web browser operating in a kiosk-mode. My exhibit fabricator is strongly
suggesting we use a self contained, compact flash media-player (he's
recommending one of the Medeawiz all-in-one players).   He's arguing that 
a media
player is easier to program, less maintenance, and less expensive than a
free-standing computer.

The proposed content on the player would primarily be video (visitors would
select one of four or six videos) but it would be nice to have the 
flexibility
to have vistors select/view additional exhibit text, photographs, perhaps 
some
accessions data, etc   The web-browser scheme gives me the ultimate in
flexibility, I'd present the content as web-pages but then I do see the
advantages of a CF player.

Questions -
1. Has anyone played with the Medeawiz players?   Can it handle non-video
content such as text pages or photographs?   I'm downloaded the user manual
(fairly spartan) and I see it has a 600x800 pixel touch-screen and can 
handle
multiple tracks.   If I wanted to display five or ten photos (and have 
visitors
click though them one-at-a-time) would I load each photo as a different 
track?
  Is there a means to have visitors scroll though photos/text, (using a
scroll-bar or perhaps pages with arrows, hyper-links, whatever) or would the
photos/text/slide-show need to be converted to a video file?

2. I noticed the thread in the MCN-L archive about the Brooklyn Museum 
having
a Firefox kiosk browser -- does that work on a Mac, (I fear not!?)   Anyone
have a Mac web-browser with a good (easy to use) kiosk mode?A year or 
two
ago I stumbled upon iCab (www.icab.de) and it looked like it'd do the trick
-- has anyone played with it?

3. As it stands now, for each kiosk we're specing a small (all-in-one)
player/touch screen, and then adding a second larger slave monitor for 
other
visitors (family groups) to view the content.Anyone have any thoughts 
about
that?Would one (mid-sized) touch screen be better than one small input 
device
and a second larger slave monitor?

4. I haven't dealt much with touch-screens, is there much
maintenance/re-calibration that needs to be done to the Medeawiz player 
screens?   Assuming we go
with the free-standing computer option, are touch screens fairly easy to
connect and program to a Mac?   Is Elo Touch the brand that everyone would
recommend?   And if going with the free-standing computer option, should we 
dump the
touch-screen concept all together and go think about a trackball?

Any suggestions will be gleefuly accepted.Looking forward to
participating on the list!

- David -
David Lewis, curator
Aurora Regional Fire Museum
www.AuroraRegionalFireMuseum.org



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[MCN-L] DM Sig -- prints for condition checking

[Deborah Wythe]

I'm curious about how people are handling the analog to digital change in 
terms of print output, specifically for the condition checking that 
registrars do. In the past, the registrar got a b/w glossy that was used for 
condition reporting -- they overlaid a clear sheet on the print and circled 
scratches, nicks, etc, and wrote notes about what they saw. With darkrooms 
shutting down, are you substituting high-quality archival prints? Ordinary 
color printer prints? Maybe a digital image on a laptop?

I know our registrars aren't entirely happy with even the archival prints -- 
there's a sense that you could see more detail in the b/w glossies. Any 
comments from your registrars?

Thanks,
Deb Wythe

Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145
deborahwythe at hotmail.com

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[MCN-L] Open Kiosk software

[Deborah Wythe]

We've been getting a lot of interest in our work with kiosks, available free 
from Mozdev, so my colleague Shelley just posted details to our blog.  Here 
are links to her posts:

http://www.brooklynmuseum.org/community/blogosphere/bloggers/2007/06/29/open-kiosk-firefox-2-version-now-available/
http://www.brooklynmuseum.org/community/blogosphere/bloggers/2007/07/05/kiosk-hardware/

Take a look!
Deb Wythe

Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145
deborahwythe at hotmail.com

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[MCN-L] DM Sig: tech and DAMS blogging

[Deborah Wythe]

Hi all,

The Brooklyn Museum has just launched an improved behind the scenes staff 
blog on our Community pages. Shelley Bernstein and I are blogging about 
technology issues, DAMS, imaging and the like.

I'm hoping that this might inspire similar step by step reports from other 
DAMS implementors by--I know that I would really like to hear more details 
about what people have accomplished since our meeting in Pasadena. Or maybe 
some people are doing so and I am just (un)blissfully (un)aware -- if so, 
please share your feeds!

You can get RSS feeds for the whole blog (if you're interested in what the 
curators and conservators have to say), or just subscribe to a specific 
category:

http://www.brooklynmuseum.org/community/blogosphere/bloggers/
http://www.brooklynmuseum.org/community/blogosphere/bloggers/category/information-technology/
http://www.brooklynmuseum.org/community/blogosphere/bloggers/category/digital-lab/

Let us know what you think!
Deb Wythe


Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145
deborahwythe at hotmail.com

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[MCN-L] Digital recorders

[Deborah Wythe]

We've been using the M-Audio Microtrak 24/96. Also not cheap (around $300), 
but pro quality, with both a good mic and the ability to plug in any other 
mic you might want (1/8 or 1/4) and stereo controls. Handles both voice 
and music nicely; can be set up to output wma or mp3 files, uses a standard 
flash memory card.

My only criticism is that has a rechargeable internal battery and you can't 
use it while it's charging.

http://www.m-audio.com/products/en_us/MicroTrack2496-main.html

Deb Wythe

Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145
deborahwythe at hotmail.com




Original Message Follows
From: David Lynx da...@yakimavalleymuseum.org
Reply-To: Museum Computer Network Listserv mcn-l at mcn.edu
To: Museum Computer Network Listserv mcn-l at mcn.edu
Subject: [MCN-L] Digital recorders
Date: Fri, 18 May 2007 12:41:22 -0700

I have been using this little Olympus digital recorder for podcasts, etc.,
but now I am thinking it picks up too much background noise.

I can add a mic to it, and the computer mic I have is not too bad, it cuts
down a lot of the background.  There must be some better quality computer
mics out there.

I was also interested what other digital recorders people are using.
Thanks
-
David Lynx, Curator of Education  Technology
Yakima Valley Museum (509)248-0747
www.yakimavalleymuseum.org


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[MCN-L] DM-SiG: searching by color profile

[Deborah Wythe]

Hi all --

Does anyone know if there's a way to search file lists by color profile 
without opening every file?

We have an occasional problem withTIF files created in Adobe RGB (1998) 
getting converted into sRGB  somewhere in the pipeline. Part of diagnosing 
where the problem is happening means finding the TIF files that are in sRGB.

Suggestions welcomed!
Thanks,
Deb Wythe


Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145
deborahwythe at hotmail.com

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[MCN-L] DM-SiG: searching by color profile

[Deborah Wythe]

Thanks for the replies. We haven't implemented our DAMS yet and yes, I hope 
that we'll be able to track color space. Since we don't know how many files 
are afflicted, I need to work back from the files to the days they were 
created and/or the machine(s) involved, rather than the other way around.

There are a couple of reasons we're concerned that things are getting 
converted, other than the mere fact that something is happening that we 
didn't intend (bad enough). Even though it's minimal, sRGB is a smaller 
color space than Adobe RGB, so you're losing information in the master file 
-- never a good thing. The other problem is that opening them in PhotoShop 
sometimes generates an error message missing data, which, frankly, looks 
unprofessional when you send images out, and we've also had problems saving 
until we go through editing the color settings and assinging the correct 
profile.

Gremlins in the system!
Deb



Original Message Follows
From: Jeff Evans jfev...@princeton.edu
Reply-To: Museum Computer Network Listserv mcn-l at mcn.edu
To: Museum Computer Network Listserv mcn-l at mcn.edu
Subject: Re: [MCN-L] DM-SiG: searching by color profile
Date: Wed, 4 Apr 2007 09:59:34 -0400

Deb - some higher end DAMs will track that, if you tell them too
early on.  But I have found mis-profiled images sometimes by date of
edit, or by determining which machine may have had the incorrect
setting.

May I ask why you need to worry? Due to monitor differences, it would
be hard to tell the difference between sRGB and 1998.  Or, are these
files halting a process due to their embedded profile?  (that may
just be a color-setting change in Photoshop.)

JEFF


Jeffrey Evans
Digital Imaging Specialist
Princeton University Art Museum
609.258.8579



On Apr 4, 2007, at 9:39 AM, Deborah Wythe wrote:

  Hi all --
 
  Does anyone know if there's a way to search file lists by color
  profile without opening every file?
 
  We have an occasional problem withTIF files created in Adobe RGB
  (1998) getting converted into sRGB  somewhere in the pipeline. Part
  of diagnosing where the problem is happening means finding the TIF
  files that are in sRGB.
 
  Suggestions welcomed!
  Thanks,
  Deb Wythe
 
 
  Deborah Wythe
  Head, Digital Collections and Services
  Brooklyn Museum
  200 Eastern Parkway
  Brooklyn, NY 11238
  tel: 718 501 6311
  fax: 718 501 6145
  deborahwythe at hotmail.com
 
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[MCN-L] Storage of Master Archival TIFFs

[Deborah Wythe]

Hello Julie,

As someone who is working toward implementing a DAMS, I would say that 
having a system that handles the master TIF files is very important. It's 
the difference between having a repository and simply having an access tool. 
Once you are managing more than a few thousand files, handling them manually 
gets complicated, labor intensive, and risky, since multiple people have 
access to the folder structure.

Ideally, once you upload a master file into the DAMS, it will automatically 
create all of the derivatives you specify for general access, store the TIF 
on the server where you specify, keep track of that location in the 
database, and manage access permissions for the TIF file. Depending on how 
the system is set up, the TIFs and JPGs may or may not be on the same 
server, but you don't have to worry about where they are once it's set up 
(that's IT's job!).

One thing to consider is whether the system renames the file to a unique 
filename -- some do, and while it cuts down on problems caused by duplicate 
file names, it also worries me. What if the database crashes and the link 
between storage is lost? We don't put a lot of metadata in our filenames, 
but do include enough so that we know what object it is (i.e. 
33.333a-c_bw.tif). I'd be loath to lose that.

Best,
Deb Wythe

Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145
deborahwythe at hotmail.com


Original Message Follows
From: Julie Grob jg...@uh.edu
Reply-To: Museum Computer Network Listserv mcn-l at mcn.edu
To: mcn-l at mcn.edu
Subject: [MCN-L] Storage of Master Archival TIFFs
Date: Tue, 27 Mar 2007 13:32:12 -0500

Hi all,

We are currently reviewing DAMS with an eye to purchasing one for our
library. I was wondering if people normally store their master TIFFs on the
DAM together with their derivative JPEGs, or if they store them on a
separate server. If you can tell me the pros and cons of your preferred
method I would greatly appreciate it.

Thanks,
Julie



Julie Grob
Digital Projects and Instruction Librarian
Special Collections
114 University Libraries
University of Houston
Houston, TX 77204-2000
(713) 743-9744
jgrob at uh.edu

UH Libraries' Poetry  Prose Reading Series
http://info.lib.uh.edu/dev/events/pandp.html

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[MCN-L] DM SIG: video formats

[Deborah Wythe]

Hello all,

I'm curious about what format people are using for their master file copies 
of born-digital video.
JPEG 2000? MPEG2? Or storing uncompressed AVI files? Pros and cons?

I've been searching for some good analysis and recommendations from the 
preservation community but have yet to hit upon anything, so some good 
(current) URLs would be welcome, too.

Thanks,
Deb Wythe


Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145
deborahwythe at hotmail.com

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[MCN-L] DM SIG: match prints from digital files

[Deborah Wythe]

Hello all,

Have other photo studios/scan labs/RR departments been wrestling with the 
issue of match prints (or match prints), now that most of us are no longer 
sending out transparencies to publishers?

It's one thing to produce a match print on a high-end printer, using color 
management and calibrated everything when you have access to the original 
art or at least to a good transparency.

It's an entirely different proposition to do so when you are assembling 
images for a catalog from a variety of sources, most of whom now simply send 
you a digital file and many of whom do not have the capability of producing 
anything close to a match print. Publishers generally insist on a match 
print, and the lack of an analog resource to compare can certainly cause 
problems in the color proofing process.

When we only have the file to go by, our solution is to produce the best 
print we can, based on what we're seeing on our calibrated monitors and 
using the color profile we receive with the digital file. It's not ideal, 
but the best we can do, considering. One dilemma, though, is what to call 
these prints so that it's clear that they're not truly match prints that 
have a solid relationship to the original art. Or am I just splitting hairs? 
How are others handling this?

Thanks for your input,
Deb Wythe

Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145
deborahwythe at hotmail.com

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[MCN-L] IP SIG: METRO Copyright Symposium (Feb 15, 2007) - NYC

[Deborah Wythe]

Hello all -- it was an interesting conference with everything from the 
basics to some philosophical talk about what where we're going (and should 
be going).

I checked in with METRO and learned that a podcast and PowerPoint 
presentations will be going up on METRO's website www.metro.org shortly. 
I'll report back when I hear that it's up.

Deb Wythe

Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145
deborahwythe at hotmail.com

Original Message Follows
From: Amalyah Keshet akes...@imj.org.il
Reply-To: Museum Computer Network Listserv mcn-l at mcn.edu
To: mcn-l at mcn.edu
Subject: [MCN-L] IP SIG: METRO Copyright Symposium (Feb 15, 2007) - NYC
Date: Tue, 27 Feb 2007 14:17:54 +0200

We would be most interested in a first-hand report from anyone who attended.
Thanks!

Amalyah



  For those in the NYC area, this looks like a must. Anyone who attends is
  kindly requested to report to us!
 
  Amalyah Keshet
  Chair, MNC IP SIG
 
 
  The Metropolitan New York Library Council (METRO) will host a symposium
  titled Copyright: The Only Certainty is Uncertainty on February 15, 2007
  at the Baruch College Conference Center in New York City. Register
  today: http://www.metro.org/content/view/150/326/
 
  Public Domain: To (c) Or Not To (c)?
  Panelists will tackle the complicated issue of libraries, archives, and
  museums that assert copyright over digital reproductions of public
  domain materials.
 
  Susan Chun, General Manager for Collections Information Planning,
  Metropolitan Museum of Art
  Kenneth Hamma, Executive Director, Digital Policy  Initiatives, J. Paul
  Getty Trust
  Jason Mazzone, Assistant Professor, Brooklyn Law School
  James Shulman, Executive Director, ARTstor
  Liz Bishoff (moderator), Assistant to the Dean, University of Colorado
  at Boulder
 
  Thanks,
  Richard Kim
  Digital Projects Manager
  Metropolitan New York Library Council (METRO)
  57 East 11th Street
  New York NY 10003
  phone: 212-228-2320 x13
  fax: 212-228-2598
  email: rkim at metro.org

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[MCN-L] [Digital Media SIG] Digital Media SIG Meeting @ MCN

[Deborah Wythe]

Hi Tim and other DM SIG folks--

Looking at the Friday schedule, with lots about digital media, it seems like 
your idea of meeting at 4PM instead of 12:30 would let us get together and 
talk without worrying about rushing back for the next session. I'm 
definitely planning on attending, whichever time works out -- last year's 
lunch didn't let us talk to people at the other end of the long table very 
easily, but it was still great to meet several people working in the same 
area.

Deb Wythe
Brooklyn Museum


Original Message Follows
From: Tim Au Yeung y...@ucalgary.ca
Reply-To: Museum Computer Network Listserv mcn-l at mcn.edu
To: Newman, Alan A-Newman at NGA.GOV
CC: Museum Computer Network Listserv mcn-l at mcn.edu
Subject: Re: [MCN-L] [Digital Media SIG] Digital Media SIG Meeting @ MCN
Date: Mon, 30 Oct 2006 14:44:41 -0700

Alan,

Sorry about that -- the meeting itself is currently scheduled for the
Friday lunch and as I'm not familiar with the area, I'm posing it to
those interested in attending whether they'd be interested in going to a
restaurant (which last year was less than ideal) or to use a room in the
hotel. As well, it appears that the currently scheduled time conflicts
with the MCN board luncheon and I know a few of the board members have
been DM-SIGers so as well, would people like it at the 4:00 pm Friday
slot instead?

Tim

Newman, Alan wrote:
  Tim,
 
  I see this never made it to the list.
 
  Alan
 
  From: Newman, Alan A-Newman at NGA.GOV
  Date: Thu, 26 Oct 2006 17:16:19 -0400
  To: Museum Computer Network Listserv mcn-l at mcn.edu
  Conversation: [MCN-L] [Digital Media SIG] Digital Media SIG Meeting @ MCN
  Subject: Re: [MCN-L] [Digital Media SIG] Digital Media SIG Meeting @ MCN
 
  *Tim,
 
  Where and when?
 
  Thanks,
  Alan
  *
 
  On 10/29/06 5:16 PM, postmaster at mail.mediatrope.com
  postmaster at mail.mediatrope.com wrote:
 
   After 3 days the following message could not be delivered to
   mcn-l at toronto.mediatrope.com at host toronto.mediatrope.com
  (206.14.230.122).
   The last attempt to send this message failed because the connection
  timed out.
  
   Reporting-MTA: dns; mail.mediatrope.com
   Arrival-Date: Thu, 26 Oct 2006 13:16:36 -0800
  
   Final-Recipient: rfc822; mcn-l at toronto.mediatrope.com
   Action: failed
   Status: 4.4.2
 
 
 
  On 10/26/06 1:41 PM, Tim Au Yeung ytau at ucalgary.ca wrote:
 
   I'm trying to get a sense of number of people and items of discussion
   for those interested in the Digital Media SIG so here's the question:
  
   Who is planning to attend the Digital Media SIG meeting at MCN and what
   would you like to see on the agenda?
  
   Thank you,
   Tim Au Yeung
   Chair, Digital Media SIG
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[MCN-L] online collection stats and evaluations

[Deborah Wythe]

Hello--

I'd be curious to hear from museums with online collections about what their 
user stats look like.

By online collections, I mean access primarily to images and data of objects 
in the museum collection as a whole, rather than more narrowly focussed 
online exhibitions of objects plus interpretation, though the latter is of 
interest, too.

How do the stats compare to hits on special exhibitions/programs/special 
features pages? Has anybody done an evaluation project that looks at how 
people use online collections? Are your visitors primarily researchers 
(students, grad students, scholars) or are members of the general public 
using online collections as well. Finding them useful?

Thanks for responses and also for pointers to recent studies, if there are 
any out there.

Deborah


Deborah Wythe
Brooklyn Museum
Head, Digital Collections and Services
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6125
email: deborahwythe at hotmail.com

[MCN-L] FW: Can a CIS be a DAMS too?

[Deborah Wythe]

All right, I'll jump in here and perhaps send us off in another direction:

One of the things (as a lapsed archivist) that I would like to see in a DAMS 
that is almost never supported in a CIS (and not well in the DAMS that I've 
seen) is hierarchies and relationships. Digitized archival collections and 
library materials almost always involve internal relationships that are 
difficult (or next to impossible) to express in either a DAMS (unless it's 
built specifically for that kind of material) or a CIS. Think book -- 
division -- chapter -- section -- page, or collection -- series -- subseries 
-- folder -- item, realizing there may be individual pages/items within each 
of those segments, not just at the bottom of the hierarchy. Museum objects 
may cause fewer hierarchy problems, but can still be challenging (for 
example: collection -- ensemble -- garment --garment part(s) -- 
accessories).

CIS systems are usually item-based with some ability to establish 
relationships, but that's not their strong point. If you want to be able to 
organize and view images in your DAMS in logical groups, and with a logical 
order within the group, that's something you'll have to think about and 
configure ahead of time. It would be great if the DAMS (or CIS) would allow 
you to do this automatically, but you may be faced with setting up a 
workaround using metadata.

Deb Wythe



Deborah Wythe
Brooklyn Museum
Head, Digital Collections and Services
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6125
email: deborahwythe at hotmail.com



On Jun 27, 2006, at 3:54 PM, Nilsen, Dianne wrote:

 
 
 
 
_
 
  From: Nilsen, Dianne
  Sent: Wednesday, June 21, 2006 9:48 AM
  To: 'mcn-l at mcn.edu'
  Subject: FW: Can a CIS be a DAMS too?
 
 
 
 
 
  This message is being resubmitted to the MCN List, now that it is
  up and
  running again.  If you already received it, please forgive the
  redundancy.  Thanks in advance to any of you who have the time and
  inclination to share your thoughts. Special thanks to Marla Misunas
  and
  Tim Au Yeung for comments they have sent to me personally.
 
 
 
 
 
_
 
  From: Nilsen, Dianne
  Sent: Tuesday, May 23, 2006 12:01 PM
  To: 'mcn-l at mcn.edu'
  Subject: Can a CIS be a DAMS too?
 
 
 
  Dear All,
 
 
 
  I am seeking collective wisdom from this group to help me with a
  unique
  opportunity here at the Center for Creative Photography.  We've
  purchased a new collection information system (CIS) and are in the
  joint
  application development stage with our vendor, Minisis.  We selected
  their product, MINT, because it integrates three distinctly designed
  modules for management of art collections, archival collections and
  bibliographic collections.  The director and CEO, Christopher Burcsik,
  is willing to create new data element fields so that we can capture
  technical and preservation metadata relating specifically to digital
  objects.  I hope to end up with a hybrid system that will serve our
  needs for collection management and digital assets management for our
  holdings of nearly 80,000 photographs and selected archival material.
  Hence the question, Can a CIS be a DAMS too?
 
 
 
  If you are so kind to respond to this long message, please note
  that we
  have the descriptive and administrative metadata mapping processes
  well
  underway in preparation for migration.  It is the metadata that
  relates
  specifically to digital objects that I am concerned with here.  My
  task
  is to come up with all the new data elements to use during the
  digitization process and to automate the capture of technical and
  preservation metadata as much as possible.
 
 
 
  One specific concept I've discussed with Minisis and would greatly
  appreciate your comments on is customizing the system to parse
  technical
  metadata that is automatically captured by scanning devices (and
  imbedded in the image files), into individual element fields in the
  database.  I wonder if this innovation might prove useful in the
  future,
  because it would allow us to export custom, detailed technical reports
  with images in XML format for web projects and collaborative digital
  initiatives. I also wonder if having technical metadata stored outside
  the image files in searchable fields would prove useful for future
  migration or for tasks such as documenting format conversions.
  Christopher tells me it is possible to parse the data, but before we
  take advantage of his time and generosity, I'd like to hear
  perspectives
  from any of you who may be dealing with similar challenges.
 
 
 
  To elaborate a bit, some technical metadata is automatically
  captured by
  the scanning back we use (BetterLight Super 6K2) and a huge amount of
  metadata is captured by our digital SLRs.  I have been studying the
  NISO
  Z39.87 document, Technical Metadata for Digital Still Images, but  the
  number of fields in that document is over the top in regard

DM-SIG IT-SIG: costs of backup

[Deborah Wythe]

Hello--

We've been having a discussion here about the exploding costs of network 
backup, as digital image collections grow, and also about potential future 
costs such as format migration. While the cost of backup tapes tends to go 
down as time passes, the formats are also continually being improved, with 
new formats then going back up in price, so the costs over time don't really 
decrease. And, of course, as we continue into digital imaging full speed, 
we're creating assets that are never going to be deleted.


I'd be interested in hearing about any creative ideas people have 
implemented or are thinking about. I've floated the possibility of adding a 
fixed percentage to any digital imaging special project budget in order to 
create a longevity endowment. Not at all sure if that's workable, but it's 
an idea out of the box.


Thanks,
Deb Wythe


Deborah Wythe
Brooklyn Museum
Head, Digital Collections and Services
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6125
email: deborahwy...@hotmail.com




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IP SIG: UK question

[Deborah Wythe]

A question for the IP folks: does anyone know what the law is in the UK on 
orphan works?


I'm a member of the Publications Board of the Society of American 
Archivists, and we'd like to reprint a 1965 book by Sir Hilary Jenkinson. We 
have been unable to locate his estate to acquire permission, despite 
considerable research by UK colleagues and the original publisher.


Is this project dead in the water unless we can find the copyright holder, 
or does UK law allow some leaway for orphaned works?


Thanks for your help,
Deborah

Deborah Wythe
Brooklyn Museum
Head, Digital Collections and Services
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6125
email: deborahwy...@hotmail.com




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DSPace

[Deborah Wythe]

Hello all,

I'd be curious to hear if anyone is using DSpace for an online collections 
project.


Thanks,
Deborah


Deborah Wythe
Brooklyn Museum
Head, Digital Collections and Services
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6125
email: deborahwy...@hotmail.com





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Re: Digital Initiatives and Organizational structure

[Deborah Wythe]

The Brooklyn Museum established a new department last July, Digital 
Collections and Services (Digital Lab, for short), to centralize all of the 
various activities that were scattered around the building. We answer to the 
Deputy Director for Art, so are on the collections side rather than 
administrative, and include the photography studio, scanning lab, rights  
reproductions, and digital asset management. We cover all areas of the 
Museum--collections, libraries/archives, current activities.


The idea was that all digital imaging projects would be under the umbrella 
of the Digital Lab--if a department wants to do a project, we'll provide the 
technical expertise, spec out and purchase equipment (along with IS), train 
the staff, and host the project.  We work closely with Information Systems, 
who provide the technology infrastructure and network administration. IS 
manages Web activities and will be working closely with us as we move toward 
putting the collections on the website.


Deb Wythe

Deborah Wythe
Brooklyn Museum
Head, Digital Collections and Services


Original Message Follows
From: Angela O'Neal aon...@ohiohistory.org
Reply-To: mcn-l@mcn.edu
To: mcn-l@mcn.edu
Subject: Digital Initiatives and Organizational structure
Date: Fri, 27 Jan 2006 10:36:52 -0500

Would anyone on the list be willing to share information regarding where 
your Digital Projects/Digital Initiatives areas fit within your 
organizational structure?  We are trying to determine if content-producing 
areas (sometimes called Digital Projects/Initiatives, Online Access, etc.) 
are typically housed within the IT department, collection/curatorial 
department, or elsewhere.  Are there any institutions that have 
content-based web departments outside of IT?


Your help is greatly appreciated!

Angela O'Neal
Digital Projects Manager
Ohio Historical Society
1982 Velma Ave.
Columbus, OH 43211
(614) 297-2576

View our collections online:
African American Experience in Ohio (dbs.ohiohistory.org/africanam/)
Ohio Memory (www.ohiomemory.org)
Ohio Pix (www.ohiohistory.org/ohiopix)
Remarkable Ohio (www.remarkableohio.org
War Gardens in Ohio (www.ohiohistory.org/garden)




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copyright and online collections images

[Deborah Wythe]

I'd be interested in hearing what other museums are doing in terms of 
copyright on works of art that you are presenting on your website, 
particularly when you are providing access to your entire collection. Are 
you researching copyright for every object not clearly in the public domain? 
Not showing any that are questionable? Putting a blanket statement on the 
site about orphaned artworks? Do you work through ARS or VAGA and put a 
general statement on your website?


If you'd prefer to remain anonymous, please reply directly to me and I'd be 
glad to summarize for the list.


Many thanks,
Deborah

Deborah Wythe
Brooklyn Museum
Head, Digital Collections and Services
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6125
email: deborahwy...@hotmail.com





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Re: archival storage of CDs

[Deborah Wythe]

For anyone looking for archival storage of image (or any files) on CDs or 
DVDs, consider this: while manufacturers make various claims for longevity 
of the media, there is no assurance that the equipment will be available to 
read that particular disc in 25 or 50 years (or even 5 or 10). Remember 8 
track tapes? Remember 8 floppies or even 5.25 floppies?


Keep in mind, also, that there's a strong likelihood that you're going to 
have to migrate to a new standard file format down the road. Where is it 
easier to manage your files--on a big network drive or on hundreds 
(thousands?) of CDs, DVDs, and other removable media? A stable, secure 
network, good file management, regular tape backups, decent metadata, and 
error checking software will keep them as safe as we can hope for at this 
early stage in the digital world.


You can store CDs and DVDs in stable, climate controlled storage, in 
acid-free sleeves or non-reactive plastic cases, but none of this will make 
them an archival backup. Archival means permanent, or as near as we can 
get to it. It's pretty easy to define what makes a paper document archival 
and store it in such a way that it'll be usable for the next century (at 
least). We're in the early stages of defining  archival for digital files: 
keep your eye on what's going on in the digital preservation world and 
follow in the big guys' footsteps as much as you can.


[The former archivist will now step off her soapbox!]
Deb Wythe

Deborah Wythe
Brooklyn Museum
Head, Digital Collections and Services
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6125
email: deborahwy...@hotmail.com

Original Message Follows
From: les...@copyrightlaws.com
Reply-To: mcn-l@mcn.edu
To: mcn-l@mcn.edu
Subject: RE: archival storage of CDs
Date: Mon, 2 Jan 2006 20:16:00 

Why aren't dvd's good for storage?

Lesley


-Original Message-

From:  Han, Yan h...@u.library.arizona.edu
Subj:  RE: archival storage of CDs
Date:  Mon Jan 2, 2006 7:32 pm
Size:  1K
To:  mcn-l@mcn.edu

Why do you want to use CDs to store images. The maximum size of a CD is 700 
MB, only good for a few digital images.


We use hard drives only. (Forget about DVDs,they are not good for long-term 
storage).



-Original Message-
From:   Jansonius, Remko (Vizcaya) [mailto:remko.janson...@vizcayamuseum.org]
Sent:   2005-12-30 ( ÇÆÚÎå) 8:18
To: mcn-l@mcn.edu
Cc:
Subject:archival storage of CDs

After a year on the job I have collected loads of digital images -
scanned, shot, donated. It's time to put the master files in storage.

Is there a general consensus on what materials to use? What type of CDs?
Is there a specific pro or con to use CD envelops (compacter) or jewel
boxes (more rigid)? Does anyone have good experiences with specific CD
drawers/boxes/cabinets? Is there anything I am overlooking here?



Any and all comments are appreciated!



... and a good new year to all!





Remko Jansonius

Collections and Archives Manager

Vizcaya Museum  Gardens

3251 South Miami Avenue

Miami, FL 33129

t: 305-860-8433

f: 305-250-9117

www.vizcayamuseum.org



miamidade.gov

Delivering Excellence Every Day



Miami-Dade County is a public entity, subject to Chapter 119 of the
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All e-mail sent to and received at this address is captured by
Miami-Dade County servers and kept as a public record.





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Lesley Ellen Harris
(from my Treo)



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Re: STEVE folksonomies / was subject keyword searching

[Deborah Wythe]

Very well reasoned and thoughtful responses, Richard. Thanks! I'm very glad 
I set this thread rolling and that we're getting some great ideas out there.


A couple of thoughts:
The rationale for using a community standard like LCSH, as you said, is 
sharability and authority control. LCSH, while sometimes obscure, allows you 
to build complex terms in structured ways that others will (theoretically) 
mimic when they catalog similar things. Ideally, we should all have CMS and 
DAMS that will allow us to both enter a term and enter its source, i.e.

Steel Industry--Pennsylvania--Pittsburgh. [LCSH]
Steel factories [local term]
My Uncle Steve's workplace [folksonomy] ;-)

The search screen could allow you to browse (the power of LCSH, in my 
opinion) or do keyword searches. I like the idea of identifying ofness and 
aboutness. Any suggestions how to indicate this in a data structure? Library 
cataloging doesn't really let you, in my experience, so there isn't an easy 
translation there. Maybe something in VRA?


As to labor intensiveness, there's a lot to be said for laying a ground work 
and doing the basics as a batch process. Set up some ground rules: for 
example, all objects from the Asian Art department identified as Chinese 
furniture get subject heading xyz, and write a small program to find those 
records and add the heading. Then, if you have the resources, have someone 
look at each record and add something more detailed. I'm cooking up a scheme 
to pair a curatorial intern and a library school intern--the curatorial grad 
student says this is a  the lib student works out an authorized 
heading. Would take some curatorial QC, but could be effective, I think.


Looking forward to working this out and catching up with the libraries and 
archives (my background, before I moved over to the digital imaging side)!


Deborah Wythe
Brooklyn Museum
Head of Digital Collections and Services
718 501 6311


Original Message Follows
From: Richard Urban museumn...@earthlink.net
Reply-To: mcn-l@mcn.edu
To: mcn-l@mcn.edu
Subject: RE: STEVE  folksonomies / was subject  keyword searching in CMS 
and DAMS

Date: Wed, 23 Nov 2005 13:17:55 -0600

Will, et al.

First off...this is a great thread.  We need to have more of these kinds of
discussion here!

snip
 A few questions:

Does anyone have an opinion about the value, in the networked information
world, of the hierarchical LC subject format I described above (Steel
Industry--Pennsylvania--Pittsburgh.)? Are others using this format (and
why) or are you using single terms, more like keywords?

The problem that I see in these discussions is that those not steeped in the
cataloging tradition don't often see the LCSH as a larger social system of
collaboratively creating a common set of terms.  There are, no doubt,
challenges with using LCSH that derive from what LCSH is.  (And I'm going
out on a limb here. LCSH isn't covered in my cataloging class until next
weekcorrections welcome) LCSH subject headings aren't just made up willy
nilly, they're based on the concept of literary warrant or that the terms
used are actually represented in the body of materials being described.
For bibliographic texts there's a leading organization and a large group of
users, following a common format that debate the addition/deletion and
change of terms based on the bibliographic materials they see.  I'm not
exactly sure how visual materials feed into this process, but the bulk of
LCSH is likely to be based on texts, rather than images. It often looks like
madness, but there is method to it.

The question seems to suggest whether we can/should develop a visual
literary warrant for describing the ofness and aboutness of the
materials we're describing.  Things like Cataloging Cultural Objects (CCO)
are an important step towards that goal because they provide guidance and
some liberal constraints on what kinds of controlled vocabularies are used
for subject description.  LCSH is not a magic bullet, but an appropriate
controlled vocabulary is going to offer some advantages over keywords.
Namely:

1. Interoperability
We're living in a networked environment.  Many of us will be sharing our
records outside the contexts of our local environment (if not today, in the
future) and using common vocabularies will make the job of aggregating and
providing access much easier. A set of keywords, or even a folksonomy
created by a specific community may not always make sense outside of that
community (and I'd say this goes both ways...LCSH doesn't always make sense
outside of it's community, useful as it can be).  We're already seeing the
interoperability challenges even when controlled vocabularies are used.  See
for example some of the work being done through National Science Digital
Library OAI Best Practices/Shareable Metadata Best Practices
http://oai-best.comm.nsdl.org/cgi-bin/wiki.pl?PublicTOC

2. Clustering/Collocation
Using a limited, controlled set of terms means it will be easier

Re: subject keyword searching in CMS and DAMS

[Deborah Wythe]

This doesn't make a lot of sense to me--why would museums not publish 
subject terms in their web/public versions of the catalog? Isn't the purpose 
of creating subjects/keywords to make the collections more accessible --to 
everyone, not just inhouse users? Museum staff are likely to be looking for 
a specific object and have key data--title or accession numbers--but members 
of the public (including picture researchers who might buy our images!) may 
want to ask a system: show me all the cats.


Deborah

Original Message Follows
From: JanaH jana.h...@cartermuseum.org
Reply-To: mcn-l@mcn.edu
To: mcn-l@mcn.edu
Subject: RE: subject  keyword searching in CMS and DAMS
Date: Wed, 16 Nov 2005 16:04:12 -0600

Deborah,

Museums don't always publish their subject cataloging to their websites.
Usually only select fields are exported from the collection management
system, and for several reasons, the subject fields don't make the cut.
I think you'll find that the depth of information stored in collection
management systems isn't really reflected in museum websites. So I guess
what I'm saying is that just because you don't see it on the Web doesn't
mean someone isn't recording that information.

That said, I think most of us probably use a vocabulary based on the
Getty Art  Architecture Thesaurus (AAT), with local terms added where
necessary. We don't use LCSH because they are usually too
conceptual/vague for our needs, but maybe someone else will weigh in on
that?


Jana Hill
Collection Database Coordinator
Amon Carter Museum
3501 Camp Bowie Blvd.
Fort Worth, Texas 76107
817-989-5173
817-989-5179 fax

All opinions are my own and not those of my employer.




-Original Message-
From: Deborah Wythe [mailto:deborahwy...@hotmail.com]
Sent: Wednesday, November 16, 2005 2:12 PM
To: mcn-l@mcn.edu
Subject: subject  keyword searching in CMS and DAMS

I'm curious to know if your museum assigns formal subject headings
and/or
keywords to works of art in their collections management or digital
asset
management systems. A little poking around on the Web seems to indicate
it's
not too common -- artist name, title, medium, collection, maybe a
general
category, yes, but something approaching the depth of the subject
headings
used in library catalogs--maybe no?

If you do assign subject headings, which authorities are used -- LCSH?
AAT?

Thanks,
Deborah

Deborah Wythe
Brooklyn Museum
Head, Digital Collections and Services
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6125
email: deborahwy...@hotmail.com





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subject keyword searching in CMS and DAMS

[Deborah Wythe]

I'm curious to know if your museum assigns formal subject headings and/or 
keywords to works of art in their collections management or digital asset 
management systems. A little poking around on the Web seems to indicate it's 
not too common -- artist name, title, medium, collection, maybe a general 
category, yes, but something approaching the depth of the subject headings 
used in library catalogs--maybe no?


If you do assign subject headings, which authorities are used -- LCSH? AAT?

Thanks,
Deborah

Deborah Wythe
Brooklyn Museum
Head, Digital Collections and Services
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6125
email: deborahwy...@hotmail.com





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Re: Digital Imaging (long)

[Deborah Wythe]

Hello Nancy and all,

The Brooklyn Museum headed out on this road recently, too. We spent last 
winter and spring on a museum-wide survey, planning process, and evaluation 
of digital asset management software packages. Established a new, 
centralized department,  Digital Collections  Services,  on July 
1st pulling together the photo studio, rights  reproductions, and scanning 
projects from various departments under the Deputy Director for Art (the 
Museum division responsible for collections).


The mission of the department (short version!): to make images more 
organized and accessible, establish technical standards, provide training, 
and increase productivity by breaking up any existing logjams in creating, 
acquiring, and using digital images. We have staff of 6.5 (all existing 
staff members with new or revised job descriptions): photographer, asst. 
photographer, rr coordinator, DAMS image  data tech, DAMS implementation 
asst/archives project tech, image acquisition  rights clearance person 
(PT), with myself (former archivist) as head and DAMS implementation leader. 
The photo studio recently went 100% digital with the purchase of a digital 
back for our large-format camera and we ve established a Digital Lab with 
scanners, printers, and workstations in the renovated former darkroom.


The department is committed to collaboration: with Information systems on 
infrastructure, technical standards, and software selection/support; with 
curatorial and collections departments to deal with the caches of collection 
images out there; with libraries/archives/curatorial staff to identify 
research collections and get them digitized and accessible; with various 
departments to identify and smooth out procedures. Any imaging production 
projects will be done in the Digital Lab, with content provided by the 
source department and technical standards and supervision by Lab staff.


We re just about to implement the DAMS we selected (ActiveMedia from 
ClearStory Systems) after looking at many candidates, from library/archives 
packages to commercial systems. Open source and home grown were not 
considered viable options for a variety of reasons. The commercial systems 
offered much better workflow capabilities (museums are  businesses,  after 
all, not simply research institutions making resources available, like 
libraries) that will serve our Design, Public Info, and Publications 
departments; security and permissions were also much more robust critical 
when you need to control which images to release  to whom.


The plan is for a 3-part database: object collections (ours and others); 
research collections from the libraries, archives and curatorial depts..; 
and what I ve been calling  life of the Museum : events, donors, PR 
materials, the building, and other images relating to daily life. For 
descriptive metadata, we ll be mapping TMS descriptive metadata to CDWA; the 
research  LOM collections will probably be extended DC, mapped to CDWA 
where we can, for searchability. Tech. metadata will be the draft ISO 
standard, I think. Much of the administrative metadata will most likely be 
home-grown, to support local workflow needs. There will be one image server, 
with the images and their structure/interrelationships managed by the 
DAMS.We're hoping that we'll be able to make a fairly seamless link between 
the DAMS, TMS, and the library OPAC (Voyager).


It was time for this project in any case, but the urgency is being driven 
(and partially funded) by our Mellon Costume Documentation Project, with  
74,000 images generated over the next 3 years and a commitment to providing 
images and data to ArtStor.


I ll be at MCN and at the NEDCC symposium and would welcome comparing notes 
with other art museum staff in similar situations. After working through the 
DAMS demo process, it s pretty clear that there s a critical mass of museums 
building out there each vendor would drop hints that they were talking to 
other museums. Who knows maybe the competition will be productive (a canned 
TMS link, perhaps?)!


Looking forward to it!
Best,
Deborah

Deborah Wythe
Brooklyn Museum
Head, Digital Collections and Services
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6125
email: deborahwy...@hotmail.com



Original Message Follows
From: Nancy Pinn np...@thewalters.org
Reply-To: mcn-l@mcn.edu
To: mcn-l@mcn.edu
Subject: Digital Imaging
Date: Mon, 3 Oct 2005 16:22:31 -0400

The Walters Art Museum is preparing to move into the digital imaging
age!
One of our major stumbling blocks is how to store our images.  Do we
have two image servers -- one for the photo studio and one for
everything else -- or do we have one image server.  What software do we
use to manage the images -- collection and non-collection.

We have three major types of images
 authorized collection images taken by our photographer
 images taken by our conversation division
 non-collection images which

[MCN-L] conference presentations

[Deborah Wythe]

There's been a discussion on the TMS listserv about managing digital images 
and I wanted to point them to the Psasdena conference presentations that 
were posted on the MCN website. I know they're there, I remember the 
announcement and seeing them, but darned if I can find them on the site. 
Help!

Thanks,
Deb Wythe



Deborah Wythe
Head, Digital Collections and Services
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
tel: 718 501 6311
fax: 718 501 6145
deborahwythe at hotmail.com

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