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transcript

Online engagement with open

access images

Phil Edgar

Head of Collection Access

Museum of New Zealand Te Papa

“Im starting a Bee Spa”Stories from the people who use our digital

collections

Phil Edgar

Head of Collection Access

Museum of New Zealand Te Papa

Te Papa

Te Papa entrance, 2018. Photograph by Maarten Holl. Te Papa (105483)

TE PAPA - THE MUSEUM OF NEW ZEALAND /

THE COLLECTIONS

● Art● New Zealand History● Pacific Cultures● Taonga Maori● Photography● Archives● Natural History

TE PAPA - THE MUSEUM OF NEW ZEALAND /

THE COLLECTIONS

● 2.2 million collection items● 1,015,000 recorded in EMu● 230,000 with images

Collection Access

COLLECTION ACCESS GROUP /

● Collection Information● Collection Imaging● Library and Archives● Te Papa Press Publishing● Loans and Acquisitions

Online engagement with open

access images /

“Im starting a Bee Spa”Stories from the people who use our

digital collections

ENGAGEMENT WITH OPEN ACCESS IMAGES /

WHAT WE’LL COVER

1. The why, what and how 2. The visitor response to date3. Stories from visitors using our collection images4. What these stories tell us about our users5. How these stories might be used in the museum to help make

decisions around digitisation and access

OPEN ACCESS IMAGE PROGRAMME /

THE WHY !

● Launched in 2014● Goal: Feed new creativity, research, learning, innovation and

personal enjoyment● Empower our visitors, not stifle them● Mana Taonga - “share decision-making with iwi (tribes),

communities and individuals with respect to managing and understanding their taonga (treasures)

● Supported by government - NZGOAL

THE WHAT !

● 81,500 images available to download from Collections Online● Around 50% of images available● 48,000 can be downloaded with unrestricted use● 33,500 downloaded with some restrictions (CC-BY-NC-ND)● All available as JPEG in highest resolution available ● 60-70% greater than 10 megapixel

THE HOW !

THE HOW!

● Images and copyright information stored in EMu

● Delivered to Collections Online via our Collections API

● Download button shows when EMu license information allows

● Short optional survey

○ What is your intended use for these images?○ Whats the web address?○ Could you tell us more?

● keen.io service gathers survey data

THE RESPONSE

● 54,500 download events (growing each year)

● 8,000 have left some sort of comment describing a reason for

use (15%)

How visitors are using our collection images

I'm the descendant of the baby

in the picture so love having

this connection to history.”

The emigrants, 1844, London, by William Allsworth.

Purchased 1992 with New Zealand Lottery Grants

Board funds. Te Papa (1992-0022-1)

“I am the son of the painter and

carried out a web site to better do

to know his work. I was very

happy to discover this

reproduction on this site, and I

wish to make it be reproduced on the web site which I created.”

Chapeaux à Belle-île, 1957-58, by Roger Montané. Purchased

1959 with Mary Catherine Tewsley Bequest funds. CC BY-NC-

ND licence. Te Papa (1959-0028-5)

“We Live in Sarcodia Place,

Papamoa, Bay of Plenty. The

endemic Sarcodia species is

Montagneana. I would like to

display the seaweed as part of

a home art wall display”

Red seaweeds - Plate 81 - Sarcodia Montagneana,

Sarcodia Flabellata, by Nancy Adams CBE. Purchased 2007. © Te Papa. CC BY-NC-ND 4.0. Te Papa

(CA000892/001/0026)

“We own this shop today &

want to make postcards to give to customers.”

Hampden, circa 1907, Dunedin, by Muir & Moodie studio.

Te Papa (C.013542)

“I’m a Canadian who lived in

Wellington for just under 2

years. Every now and then on

my way home from work I

would stop by the Te Papa

Museum just to see this one

painting. I have never been

much for art but for some

reason this painting… is

“something else. I guess

maybe that’s the point of it all

(art).”

Wellington Harbour, 1894, Wellington, by James

Nairn. Gift of Miss Mary Newton, 1939. Te Papa

(1939-0009-2)

“Restoring this type of

camera.”

Imperial half plate camera, 1900s, Altrincham, by

Thornton-Pickard. Purchased 1999 with New Zealand Lottery Grants Board funds. CC BY-NC-ND 4.0. Te Papa

(GH007668)

“I am making a reference

photo collection for personal

use to compare to ferns of

Vanuatu.”

fern, Sticherus oceanicus (Kuhn) H.St.John, collected 29

Apr 2008, Nadroga Navosa Province, Nadrau District, Taladrau Ridge, near the Telecom repeater., Fiji. Field

Collection 2008. CC BY-NC-ND licence. Te Papa

(P022761)

“Since I became a chief I need

to have a better understanding

of Samoan culture”

O le Tusi FAALUPEGA o Samoa, 1981, Samoa, by Malua

Printing Press, T Faletoese. Gift of Safua Akeli, 2010. CC BY-NC-ND 4.0. Te Papa (FE012543)

“I'm studying the construction

and technical details of this

style of mocassin and loomed

quillwork”

Moccasins, circa 1750, maker unknown. Gift of The

Imperial Institute, 1955. CC BY-NC-ND 4.0. Te Papa (FE002998/3-4)

“I'm studying the cultural and

gender stereotypes portrayed

in Disney's Moana and

redesigning her (among other

Disney princesses researched)

in hopes of eliminating cultural

and gender stereotypes to the

best of my ability. I am using

this image to understand

Moana's costume and the

patterns that influenced its design.”

Siapo mamanu (tapa cloth), 1890s, Samoa, maker

unknown. Gift of Alexander Turnbull, 1913. Te Papa (FE000825)

“This high resolution image

allows me to see details I

normally will have to be in

person to view (Chain maille

patterns and stitching patterns

to name a few). Overall I wish

to use this for my studies in world history.”

Samurai armour (Sendai-do no Gusoku), 1735, Japan, by

Muneyoshi of the House of Myouchin. Acquisition history unknown. CC BY-NC-ND 4.0. Te Papa (FE010354)

“I'm identifying my feather mite collection from Venezuela”

Hemialges pilgrimi Mironov & Galloway, 2002, collected

14 April 1999, Tuahiwi, New Zealand. CC BY-NC-ND 4.0. Te Papa (AA.000177)

“I write RPG games and masks

feature heavily in the game so I

am looking at different masks from around the world.”

Mask, circa 1870, Torres Strait, maker unknown. Gift

of the Marquess of Normanby, 1875. CC BY-NC-ND 4.0. Te Papa (FE000530)

“I am a Hawaiian cultural

practitioner who weaves

E’ieE’ie”

`aumakua hulu manu Kūka`ilimoku (feathered image),

1700s, Hawaii, maker unknown. Gift of Lord St Oswald, 1912. CC BY-NC-ND 4.0. Te Papa (FE000325)

“Reference photo for heritage

architectural 3D modelling project.”

Wellington, 01 February 1909, Wellington, by Muir &

Moodie studio. Te Papa (O.026582)

“Structural engineering

research prior to reinstating

and strengthening.”

Trinity Church, Christchurch, 1880s, Dunedin, by

Burton Brothers studio. Te Papa (C.011551)

Christchurch Earthquake 22/02/11, Geof Wilson, CC BY-SA 2.0,https://www.flickr.com/photos/17211040@N00/5475190925/

“I am a Fiji from Bau, and I

would like to show my kids

how theirs forefathers used to travel.”

Model drua (sailing canoe), 2002, Fiji, by Alex Kennedy.

Commissioned 2002. © Te Papa. CC BY-NC-ND 4.0. Te Papa (FE011790)

“I teach an adult literacy and

numeracy programme. We

have been looking at the first

and second world wars as part

of learning about ANZAC Day.

I would like my students to

analyse war propaganda

posters and then design their own.”

Poster, 'The Empire Needs Men!', March 1915, United

Kingdom, by Arthur Wardle, Straker Brothers Ltd, Parliamentary Recruiting Committee. Gift of Department of

Defence, 1919. Te Papa (GH016383)

“To use in

teaching

mindfullness”

A family of giraffes, Cairo. From the album:

Photograph album of Major J.M. Rose, 1st NZEF,

1914-1915, Cairo, by Major John Rose. Te Papa

(O.040430)

Landscape, by Joseph Adam. Gift of the New Zealand

Academy of Fine Arts, 1936. Te Papa (1936-0012-275)

“To teach myself more about

the depiction of light in painting

to pass on to my school pupils”

Mokoia Island - Rotorua, circa 1887, Dunedin, by

Burton Brothers, maker unknown. Te Papa (O.034344)

“I am a Trustee of Mokoia

Island and we are always

interested in updating all

information we have on our

Motu.”

Female deity, circa 1800, Cook Islands, maker

unknown. Oldman Collection. Gift of the New Zealand Government, 1992. CC BY-NC-ND licence. Te Papa

(OL000370)

“I'd like to draw her.

I think she has interesting

lines.”

Sir William Jervois, 1887-1888, Wellington, by

Connolly and Company. Te Papa (D.000054)

“Themed dinner invitation”

“I'm working on a photobook

about cultural fascination with

cryptids and their role in

Northern American myth-

building.”

Colossal squid, Mesonychoteuthis hamiltoni Robson,

1925, collected 2008, Ross Sea, Antarctica. Gift of the Ministry of Fisheries, 2007. CC BY-NC-ND 4.0. Te

Papa (M.190318)

“I want to create a series of original prints (Lino cuts) based on these masks.”

Pare 'eva (Festival mask), circa 1906, Cook Islands,

maker unknown. Purchased 1907. CC BY-NC-ND 4.0. Te Papa (FE002323/1)

“Artwork for my music project -

under development.”

Sketch from the South Bank of the Rangitiki,

September 1841, Rangitikei, by Captain William

Mein Smith. Gift of Horace Fildes, 1937. Te Papa

(1992-0035-1833)

“I'm an avid cross stitcher and

I'd love to make this for my

house. Thank you!”

Needlework pattern, circa 1870-1900, Germany, by L W

Wittich. Acquisition details unknown. Te Papa (GH014487)

“I am researching plants

collected by Colenso, as I

intend making 3D facsimiles of them from plastic as artworks”

Olearia colensoi Hook.f., collected January 1886, Nelson,

Mt [Mount] Arthur., New Zealand. CC BY-NC-ND 4.0. Te Papa (SP031955)

“I'm building a 3d paper tui and

would like to use this image as

a reference for their plumage.”

Tui, Prosthemadera novaeseelandiae novaeseelandiae,

collected June 1994, Nelson, New Zealand. Gift of the Department of Conservation, 1987. CC BY-NC-ND 4.0. Te

Papa (OR.025218)

“Im a contemporary jeweller developing an exhibition for Avid Gallery in Wellington. My aim is to make beautiful wearable objects that are a provocation for change. My focus is to develop a range of mourning jewellery that commemorates the lost or endangered flora and fauna of New Zealand. I want to draw attention to the idea that although we mourn the loss of these precious taonga we have not learnt the necessary lessons. Our governing policies and prevailing cultural mindset privileges money above all else and we continue to undermine and destroy our

resources.”

Three huia (Heteralocha acutirostris), circa 1900, London,

by Johannes Keulemans. Purchased 1993 with New Zealand Lottery Grants Board funds. Te Papa (1993-

0029-6)

“custom cellphone case”

Hatteria Punctata. Plate 20. From the book The zoology

of the voyage of H.M.S. Erebus & Terror 1839 - 1843. Vol. 2 Reptiles, Fishes, Crustacea, Insects, Mollusca,

1845, by J Ford. Te Papa (RB001206/020a)

“We lost a lot of household items in the

Earthquakes here in Christchurch. The wall paper

copies will bridge a gap, making an interesting and vibrant wall picture in our re-built / restored home.”

Les Sauvages de la Mer Pacifique (The native peoples of

the Pacific Ocean), 1804-5, Mâcon, by Mr Jean-Gabriel Charvet, Mr Joseph Dufour. Purchased 2015 with Charles

Disney Art Trust funds. Te Papa (2015-0048-1)

“I highlight a different

invertebrate every day. I'm not

a photographer and couldn't

get to most of them anyway,

so I try to find creative

commons licensed photos

online. Monoplacophorans are

tough to find images and data

on. Really, I just like

invertebrates and want more

people to like them with me.”

Monoplacophoran, Micropilina wareni B. Marshall,

2006, collected 2 June 2003, West Norfolk Ridge, W

of Cape Reinga, New Zealand. CC BY-NC-ND 4.0.

Te Papa (M.171273)

USE OF COLLECTION IMAGES /

OVERVIEW OF VISITOR RESPONSE

● Personal connection ….learning….teaching...creativity...● People are interested in using our collections● Our collections are relevant to people in their day-to-day lives

beyond the museum● People use our collections in ways we could never have imagined

● Photography collection images downloaded the most (45% of download events)

● However, proportionate to the size of image collection available online:○ Fossil Vertebrates○ Pacific Cultures ○ Insects○ Birds○ Molluscs

● Category of Use○ Personal Research 19%○ Professional scientific research 19%○ Creative Project 16%○ Educating 12%○ Genealogy Research 7%○ Exhibition creation 3%○ Tertiary study (university / Polytechnic) 6%○ Professional research (humanities) 5%○ Secondary study (high school) 1%

The value of this information for the Museum

VALUE OF THIS INFORMATION FOR THE MUSEUM /

INTERNAL EDUCATION

● Help make the case for ongoing funding for digitisation and systems● Educate new staff and management about the value of this work● Help in the battle for open access - be even more open ● Motivate our curatorial staff!

SHOWING IMPACT

Audience Impact Model (AIM)

SHOWING IMPACT

10% 15% 17% 29% 6% 13% 5%

INFLUENCING DIGITISATION PRIORITIES

● Use the Audience Impact Model (AIM) in digitisation prioritisation

● Is it likely that the digitised collection:○ will have broad appeal? (e.g. attention caught)○ will create a sense of joy, interest of other emotion? (e.g.

reaction)○ will have a personal connection to audiences? (e.g.

connection)○ will enable personal insight or learning? (e.g. insight)○ will enable personal, group or national impact? (e.g. action)

INFLUENCING DIGITISATION DECISIONS

● Use insights taken from analysis of comments alongside data from Google Analytics and Hotjar survey

● Examples:○ Pacific Cultures collections - increase digitisation; create data

enhancement programme so more can be released open access○ Target Natural History collections - support research from afar○ Continue to make images available in highest resolution we can○ Programme to re-digitise “small images” we can see are popular ○ Digitising full series ○ Show the value as a way to open up more Taonga Maori

collections

Closing remarks

“I just started To Bee project

which is about bringing

connection between nature and

urban spaces. For that we bring

bee hives to New York City. We

are also working on getting

bees and humans closer to

each other by allowing people

to spend time with the bees in a

safe environment of a "bee spa"

where people can sleep with

the bees.”

Apis mellifera ligustica Spinola, 1806. CC BY-NC-ND 4.0.

Te Papa (AI.033457)

The End

Thanks!

Philipe@tepapa.govt.nz

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