Galleries, Libraries, Archives And Museums Research Articles

Creative futures for cultural heritage: a typology of creative practice in the GLAM sector – towards a creative heritage approach

ABSTRACT This article seeks to develop a non-prescriptive typology of creative practice and its role in GLAM (Galleries, Libraries, Archives and Museums) institutions through an examination of published research. Highlighting key issues and perspectives on integration and intent in each approach it examines practice through five categories: (1) demonstration; (2) programmed performance; (3) historically informed creativity and performance; (4) institutional preservation of creativity; and, (5) creative heritage. The first four categories subsume creativity as reproduction, in the pursuit of claims to originality or use GLAM spaces as a simple stage or backdrop. Creative heritage, on the other hand, is characterised by the use of creativity as an integrated practice that intentionally produces integrated and authentic outcomes allied to the repertoire and work of GLAM institutions. We conclude with suggestions about how creative innovation offers opportunities for institutions to meet and enhance strategic priorities and overcome challenges to sustainability relative to a wider cultural economy.

GLAM Convergence Revisited: An Examination of User Perception and Experience

Institutions in the GLAM (galleries, libraries, archives, and museums) sector serve the public as institutions for cultural heritage, identity, education, experience, and leisure. The goals of these institutions are becoming more closely aligned and they have shared a turn from being collection-centred to a focus on users and visitors. When these institutions also face similar challenges brought on especially by digitalization, there is increasing discourse in scholarly literature and among GLAM professionals about the drivers, impacts and opportunities of convergence for the sector. There remains however, scant empirical examination of user/visitor perception and experience of such convergence. This research addresses this knowledge gap and investigates a converged GLAM case institution, Te Ara Ātea in New Zealand through a user/visitor survey. The survey findings suggest that users/visitors perceive and experience fewer issues with convergence relative to benefits. A novel insight from this research is that the concept of GLAM convergence can positively contribute to cultural and community wellbeing. As for perceived issue within the convergence space, of particular interest is the concept of unsanctioned touch of displayed objects/artworks, and the alleged unclear behavioral norms in converged environments. The findings also point to further considerations and implications regarding GLAM disciplinary boundaries.

A checklist to publish collections as data in GLAM institutions

Purpose The purpose of this study is to offer a checklist that can be used for both creating and evaluating digital collections, which are also sometimes referred to as data sets as part of the collections as data movement, suitable for computational use. Design/methodology/approach The checklist was built by synthesising and analysing the results of relevant research literature, articles and studies and the issues and needs obtained in an observational study. The checklist was tested and applied both as a tool for assessing a selection of digital collections made available by galleries, libraries, archives and museums (GLAM) institutions as proof of concept and as a supporting tool for creating collections as data. Findings Over the past few years, there has been a growing interest in making available digital collections published by GLAM organisations for computational use. Based on previous work, the authors defined a methodology to build a checklist for the publication of Collections as data. The authors’ evaluation showed several examples of applications that can be useful to encourage other institutions to publish their digital collections for computational use. Originality/value While some work on making available digital collections suitable for computational use exists, giving particular attention to data quality, planning and experimentation, to the best of the authors’ knowledge, none of the work to date provides an easy-to-follow and robust checklist to publish collection data sets in GLAM institutions. This checklist intends to encourage small- and medium-sized institutions to adopt the collection as data principles in daily workflows following best practices and guidelines.

Rethinking GLAMs as commons: a conceptual framework

In this paper, we reflect on ‘new commons’ theory and elaborate on the ontology of memory institutions with the aim to develop a comprehensive conceptual framework for ‘commons-oriented’ GLAMs (Galleries, Libraries, Archives and Museums). In doing so, we propose an alternative for governing and managing cultural heritage against a backdrop of limited public funding and pressures for developing memory institutions into more inclusive, participatory and ‘entrepreneurial’ organisations. Our theoretical analysis is grounded in the review of the extant literature, including both the ‘Ostromian’ and ‘Autonomist’ schools of thought, drawing particularly on the new commons (urban, digital, cultural/heritage commons) to inform our framework. The conceptual schema we present here is adapted to fit with the idiosyncrasies of the sector, describing the functioning of commoning practices in GLAMs. Such a framework is critical for navigating future research and devising workable solutions to address current challenges for memory institutions in Europe.

GLAM Wikiprojects as a Form of Organization of Cooperation Between Wikipedia and Cultural Institutions

The development of new communication technologies enabled the digitalization of the knowledge resources of cultural institutions all over the world and made them available to a wider audience. This was possible through the cooperation of cultural institutions with Wikipedia’s WikiProjects and engagement of the users from numerous countries. It seems important to recognize if this form of cooperation between Wikipedians and institutions is effective and attracts enough participants. The article takes up the subject of the character and effects of this cooperation. The aim of the paper is to study the activity of Wikipedians, including newcomers, in GLAM (Galleries, Libraries, Archives, and Museums) WikiProjects in several language versions of Wikipedia as an open knowledge project. The research questions concerned the characteristics of the activity of Wikipedians in GLAM WikiProjects and the differences between the behaviour of Wikipedians in GLAM WikiProjects in different language versions. The method used in the research is the content analysis, which includes quantitative tools. The author acquired and calculated the data on the activity of GLAM Wikiprojects participants thanks to the Wikipedia xTools tool. The calculations were made on participants of GLAM WikiProjects from five language versions of Wikipedia. The main conclusion from the research is that the results of this kind of organization of work, especially in terms of newcomers, are not satisfactory. The most effective participants are the coordinators of the projects or/and the Wikipedians with the highest seniority. Newly acquired participants most often do not continue their activity for long time. However, there are some differences in different language versions of Wikipedia. English one has better results in retaining and engaging new users. What is interesting is that despite the wide popularization and engagement of the GLAM institutions in the collaboration with Wikipedia, there is a relatively low interest of new Wikipedians in GLAM Wikiprojects. In order to reach a successful cooperation, it is significant to improve the effectiveness of welcoming, engaging, and retaining newcomers in the projects. The results may be of use to the practitioners of the virtual communities of practice which focus on creating and sharing knowledge.

A Survey of the Metadata Element Sets Used for Digital Art Objects in the Online Collections of the Museums of India

Digital technology advancements have had a significant impact on how people learn, search for information, and evaluate it. Indian cultural heritage institutions like GLAMs (Galleries, Libraries, Archives, and Museums) have also embraced a number of digitisation initiatives to increase access to their wide-ranging art collections. Digital paintings and other cultural heritage information artifacts can facilitate digital humanities research in multiple ways. Using an online content analysis and observation method, this study looks at how metadata elements are used to describe the different art collections in five national museums in India. The study finds that 13 categories of art objects are made available by all the museums. Each category is described by a different number of metadata entry elements. The study also finds the metadata elements that different museums prefer for different types of art objects, as well as the common elements. The findings highlight the need for standardisation in metadata practices to improve the discoverability and accessibility of cultural objects and show how crucial metadata is in facilitating access to cultural objects. The results could help GLAMs create metadata guidelines and strategies for their digital collections, which would make digital art objects more discoverable and accessible.

First Wave Collecting – Christchurch Terror Attacks, 15 March 2019

AbstractThis paper explores how the Museum of New Zealand Te Papa Tongarewa and Alexander Turnbull Library (a division of the National Library of New Zealand Te Puna Mātauranga o Aotearoa) responded to the outpouring of grief in the wake of the Christchurch terror attacks on 15 March 2019. This case study highlights how both institutions, at the invitation of the Wellington Islamic Centre (through the International Muslim Association of New Zealand) collected the hundreds of tributes left at Kilbirnie Mosque in Wellington. This particular acquisition required a shift from a museological object‐centred approach to an archival approach, enabling us to privilege the integrity of the whole. The authors consider the meanings and impacts of such spontaneous memorials; and discuss both the benefits and limitations of collecting material culture generated by ‘first wave’ responses to mass trauma. This case study also demonstrates what can be achieved through collaboration, drawing on aspects of professional practice and theory from across the GLAM (Galleries, Libraries, Archives and Museums) sector.

Accessibility and dissemination of the cultural heritage in a museum library: case study in the National Archaeological Museum (Spain)

The bibliographic heritage held by GLAM (Galleries, Libraries, Archives and Museums) institutions is an invaluable source for research, culture and education in a country. This paper aims to present a research project plan to improve the visibility, accessibility and dissemination of the bibliographic heritage of the National Archaeological Museum Library through the generation of virtual bibliographic exhibitions. The research project is highly praiseworthy and innovative in the field of Spanish heritage. Firstly, this is the first challenge undertaken in a Spanish state museum library with the stated general objective and, secondly, because the project proposal was supported and funded in 2021 by the Spanish Ministry of Science and Innovation in the call ‘R+D+i Oriented to the Challenges of Society’. After formulating some research questions, the research design was divided into five phases. It included drafting scientific-technical reports, selecting stakeholders as well as the configuration of the project team to conclude with the project implementation phase. The proposed research project plan also included the general and specific objectives, the research team, phases of the proposal as well as its dissemination and communication plan. Conclusions highlight the importance of creating multidisciplinary work teams and combining the use of technologies with the bibliographic collections of cultural institutions.

Reflections of Community Engagement and Wisdom in the Works of Information Professionals

Goal/purpose: This study focused on information professionals working in the GLAM (galleries, libraries, archives and museums) sector, and how information was sought and used by them for community engagement and to attain wiser outcomes. The primary purpose was to investigate the information collection, use, reflection and values of professionals in the GLAM sector to determine if wise actions occur that may potentially benefit the community. Methodology: A qualitative approach was used to conduct this research using the wise action model’s (WAM) wisdom characteristics. Data were collected from information professionals working in managerial positions in the GLAM sector using in-depth interviews. Thematic analysis was used to analyse the data. Results: The findings indicate that while most participants exhibit some elements of wisdom, there are gaps that need to be addressed before wise functioning is deemed applicable in their roles. While knowledgeable information acquisition and community engagement were very visible, more emphasis on values and stakeholder well-being is recommended for wiser considerations. Originality/Value: Study of wisdom certainly deserves more attention in knowledge management research as previous studies have indicated. With increasing stresses in the lives of professionals, it is now more important than ever to gain an understanding of how much wisdom prevails in organisational functioning to improve the works of individuals and consequently improve the well-being of impacted communities.

Digitization of GLAM Collections and Copyright: Policy Paper

Abstract Copyright can be a major obstacle for cultural institutions regarding digitization and online accessibility, which ultimately leads to the under-exploitation of collections at the expense of society and to a need to support cultural heritage institutions with legislative and/or policy changes or at least clarifications. This contribution is a policy paper that aims to clarify the copyright law principles applicable to museum professionals dealing with digital cultural heritage worldwide, and to formulate policies to facilitate their digital activities. An initial version of this policy paper was published on a dedicated website and led to an international conference held in 2020 in Geneva. Although it is primarily addressed to museums, this policy paper may also serve as guidance to stakeholders in other areas dealing with digital cultural heritage, in particular Galleries, Libraries, Archives and Museums (GLAM). Part I proposes policies directed towards national and international policymakers. Parts II and III are directed towards cultural institutions, and set out a code of conduct that cultural institutions may follow when pursuing digitization and dissemination activities in order to comply with the actual state of the law and minimize the risks associated with these activities (Part II), and an alternative dispute resolution (ADR) procedure to help cultural institutions and rights holders identify issues and reach satisfactory solutions in disputes around digital activities (Part III).***

Openness and privacy in born-digital archives: reflecting the role of AI development

Galleries, libraries, archives and museums (GLAMs) are striving to retain audience attention to issues related to cultural heritage, by implementing various novel opportunities for audience engagement through technological means online. Although born-digital assets for cultural heritage may have inundated the Internet in some areas, most of the time they are stored in “digital warehouses,” and the questions of the digital ecosystem’s sustainability, meaningful public participation and creative reuse of data still remain. Emerging technologies, such as artificial intelligence (AI), are used to bring born-digital archives to light, aiming to enhance the public’s engagement and participation. At the core of this debate lies both the openness of data and issues of privacy. How open to the public should born-digital archives be? Should everything be open and available online, and what does it take to achieve balance between openness and privacy, especially through AI initiatives? The study is qualitative and builds on the rationale of grounded theory. The role of AI development is critically investigated in relation to opening up born-digital archives online, by considering privacy and ethics issues. Grounded in the context of the author’s PhD research, the paper proposes a human-centred approach to AI development for democratising its development towards fairness and social inclusion, contrary to the stereotypical cliché of blackboxing, allowing space for the plurality of born-digital archives to flourish.

A benchmark of Spanish language datasets for computationally driven research

In the domain of Galleries, Libraries, Archives and Museums (GLAM) institutions, creative and innovative tools and methodologies for content delivery and user engagement have recently gained international attention. New methods have been proposed to publish digital collections as datasets amenable to computational use. Standardised benchmarks can be useful to broaden the scope of machine-actionable collections and to promote cultural and linguistic diversity. In this article, we propose a methodology to select datasets for computationally driven research applied to Spanish text corpora. This work seeks to encourage Spanish and Latin American institutions to publish machine-actionable collections based on best practices and avoiding common mistakes.

Crypto Collectibles, Museum Funding and OpenGLAM: Challenges, Opportunities and the Potential of Non-Fungible Tokens (NFTs)

Non-fungible tokens (NFTs) make it technically possible for digital assets to be owned and traded, introducing the concept of scarcity in the digital realm for the first time. Resulting from this technical development, this paper asks the question, do they provide an opportunity for fundraising for galleries, libraries, archives and museums (GLAM), by selling ownership of digital copies of their collections? Although NFTs in their current format were first invented in 2017 as a means for game players to trade virtual goods, they reached the mainstream in 2021, when the auction house Christie’s held their first-ever sale exclusively for an NFT of a digital image, that was eventually sold for a record 69 million USD. The potential of NFTs to generate significant revenue for artists and museums by selling effectively a cryptographically signed copy of a digital image (similar to real-world limited editions, which are signed and numbered copies of a given artwork), has sparked the interest of the financially deprived museum and heritage sector with world-renowned institutions such as the Uffizi Gallery and the Hermitage Museum, having already employed NFTs in order to raise funds. Concerns surrounding the environmental impact of blockchain technology and the rise of malicious projects, exploiting previously digitised heritage content made available through OpenGLAM licensing, have attracted criticism over the speculative use of the technology. In this paper, we present the current state of affairs in relation to NFTs and the cultural heritage sector, identifying challenges, whilst highlighting opportunities that they create for revenue generation, in order to help address the ever-increasing financial challenges of galleries and museums.

Designing archival information systems through partnerships with Indigenous communities

I
 Indigenous peoples in Australia have been heavily documented in colonial archives and collections. The past two decades have seen significant materials from Galleries, Libraries, Archives and Museums (GLAM) institutions being returned to Indigenous communities in Australia through physical or digital repatriation of materials. The digital return of materials requires both appropriate systems for returning both the digital collections, metadata and contextual information that relates to them, and agreements, policies, and procedures for meaningfully engaging with Indigenous communities throughout the process. Importantly, the information returned needs to be accessible, readable, and usable in local community contexts based on understanding local community needs. This paper discusses priorities around engaging with Indigenous peoples to reshape and build archival information systems and access points that support community requirements for digital return and management of cultural heritage materials in local settings. The paper discusses future priorities for designing archival information systems to support Indigenous sovereignty, including data stewardship and preservation approaches. These concerns are discussed and raised as part of the research and development of the global Mukurtu Content Management System (CMS) project, including within the New South Wales (NSW) Australian Mukurtu Hub.

Partners for Preservation: Advancing Digital Preservation through Cross-Community Collaboration. Edited by Jeanne Kramer-Smyth. [Review

The title of this anthology of essays sets the readers’ expectation for a very different experience than the book delivers. Neither a set of case studies nor a practical guide to digital preservation, the book is “an exploration of how computers and technology affect our ability to preserve information for the future,” as explained by editor Jeanne Kramer-Smyth (p. xxii). Its 10 essays aim to introduce archivists to the perspectives of professionals working in areas adjacent to digital preservation. Boldly stepping beyond the GLAM (galleries, libraries, archives, and museums) community, Kramer-Smyth provides a platform for diverse voices with impeccable educational and professional credentials, including a color scientist, a journalism professor, and a legal expert in postmortem privacy.

Neither Literature nor Object: Children’s Writings in the Digital Public Realm

The interpretation of children’s writings has often presented a particular challenge to Galleries, Libraries, Archives and Museums (GLAM), as the represented child has historically been deprived of agency, and children’s writings are neither ‘literature’ nor traditional display objects. In this article we will explore the methodologies of representation that are associated with the merging of children’s history and digital humanities. We will lay out an approach for digitally representing children’s writings held in museums. We will demonstrate the possibilities that have been put forward by librarians, archivists and curators internationally, and explore the tools and approaches that have emerged from the field of digital humanities for re-presenting the agency of the child creator and the child visitor within memory institutions. Moreover, in this article we will propose that the digital environment facilitates a critical site of experimentation in displaying children’s collections that allow creator, object, context, critique, and visitor to be equally valued.

Through the Looking Glass. Cultural Heritage Custodians to Populate the Mirrorworld

This contribution is a wake-up call to custodians of cultural heritage to get ready and prepare for the next platform – the 3D and 4D experiences of the nascent Mirrorworld. Built upon the first generations of online experience, the sprawling communication platform of the World Wide Web, and driven by the ubiquitous reach of social networks and online gaming, the Mirrorworld will breach the glass ceiling of 2D experiences to draw us into a fully functioning 3D environment. Public institutions that manage cultural heritage for visitors, such as galleries, libraries, archives and museums (GLAMS), are ideally placed to seed the spatial communications network that will drive the new platform. Despite the formidable challenges to be surmounted, it is up to custodians of cultural heritage to become proactive in building the Mirrorworld rather than to wait for third party actors to advance commercial interests with imitation culture, simulated histories, or made-up stories. As gatekeepers of cultural artifacts, GLAMs have the capability, the experience, and even the responsibility to tell their stories forcefully, accurately and in fully-functioning 4D.

Through the Looking Glass. Cultural Heritage Custodians to Populate the Mirrorworld

This contribution is a wake-up call to custodians of cultural heritage to get ready and prepare for the next platform – the 3D and 4D experiences of the nascent Mirrorworld. Built upon the first generations of online experience, the sprawling communication platform of the World Wide Web, and driven by the ubiquitous reach of social networks and online gaming, the Mirrorworld will breach the glass ceiling of 2D experiences to draw us into a fully functioning 3D environment. Public institutions that manage cultural heritage for visitors, such as galleries, libraries, archives and museums (GLAMS), are ideally placed to seed the spatial communications network that will drive the new platform. Despite the formidable challenges to be surmounted, it is up to custodians of cultural heritage to become proactive in building the Mirrorworld rather than to wait for third party actors to advance commercial interests with imitation culture, simulated histories, or made-up stories. As gatekeepers of cultural artefacts, GLAMs have the capability, the experience, and even the responsibility to tell their stories forcefully, accurately and in fully-functioning 4D.

Reusing digital collections from GLAM institutions

For some decades now, Galleries, Libraries, Archives and Museums (GLAM) institutions have published and provided access to information resources in digital format. Recently, innovative approaches have appeared such as the concept of Labs within GLAM institutions that facilitates the adoption of innovative and creative tools for content delivery and user engagement. In addition, new methods have been proposed to address the publication of digital collections as data sets amenable to computational use. In this article, we propose a methodology to create machine actionable collections following a set of steps. This methodology is then applied to several use cases based on data sets published by relevant GLAM institutions. It intends to encourage institutions to adopt the publication of data sets that support computationally driven research as a core activity.

Survey of 3D digital heritage repositories and platforms

<p class="VARAbstract">Despite the increasing number of three-dimensional (3D) model portals and online repositories catering for digital heritage scholars, students and interested members of the general public, there are very few recent academic publications that offer a critical analysis when reviewing the relative potential of these portals and online repositories. Solid reviews of the features and functions they offer are insufficient; there is also a lack of explanations as to how these assets and their related functionality can further the digital heritage (and virtual heritage) field, and help in the preservation, maintenance, and promotion of real-world 3D heritage sites and assets. What features do they offer? How could their feature list better cater for the needs of the GLAM (galleries, libraries, archives and museums) sector? This article’s priority is to examine the useful features of 8 institutional and 11 commercial repositories designed specifically to host 3D digital models. The available features of their associated 3D viewers, where applicable, are also analysed, connecting recommendations for future-proofing with the need to address current gaps and weaknesses in the scholarly field of 3D digital heritage. Many projects do not address the requirements stipulated by charters, such as access, reusability, and preservation. The lack of preservation strategies and examples highlights the oxymoronic nature of virtual heritage (oxymoronic in the sense that the virtual heritage projects themselves are seldom preserved). To study these concerns, six criteria for gauging the usefulness of the 3D repositories to host 3D digital models and related digital assets are suggested. The authors also provide 13 features that would be useful additions for their 3D viewers.</p><p>Highlights:</p><ul><li><p>A survey of relevant features from eight institutional and eleven commercial online 3D repositories in the scholarly fieldof 3D digital heritage.</p></li><li><p>Presents a critical review of their hosting services and 3D model viewer features.</p></li><li><p>Proposes six features to enhance services of 3D repositories to support the GLAM sector, heritage scholars andheritage communities.</p></li></ul>