The 27th of October the World Day for Audiovisual Heritage took place, an UNESCO initiative to celebrate and recognize the value of audiovisual collections for future generations. In light of this day Sound and Vision organized a “video-challenge” to encourage the use of video – in the form of audiovisual heritage – in articles on Wikipedia.
Over the summer Sound and Vision uploaded new open video content using the GLAMwiki Toolset whereby the total number of videos had doubled to nearly 4.000 items on Wikimedia Commons. Although the community of Wikipedia warmly welcomed this new reusable video content, we wanted to see it reused in Wikipedia articles, in order to present the items to a wider audience in a relevant context.
We put up a projectpage (in Dutch) on Wikipedia and provided eight free tickets to our museum as small prizes. Within one week almost 200 videos from the collections of Sound and Vision were added to articles on the Dutch Wikipedia. This result was achieved with minimal communications efforts, short notice and only four subscribed participants. After the week had ended, some volunteers continued to use videos and currently almost 400 video’s have been added to articles!
The videos now serve as illustrations to many articles, among which the article of marine vessel De Ruyter, active in World War II.
Most of the material used in this video challenge comes from a collection of Polygoon newsreals with Dutch commentary, which makes usage on the Dutch Wikipedia more likely. There is however also material that can be used on other language versions of Wikipedia in the collections of Sound and Vision For instance the 600+ videos of birds in the collection of Nature footage.
As was argued in an earlier blogpost, video deserves a bigger place on the free online encyclopedia. Sound and Vision will continue to make more content available and stimulate its use. Hopefully the 2015 World Day of Audio Visual Heritage will be an occassion for archives holding audio-visual collections to join forces and make this day into a yearly highlight for video on Wikipedia.
- Please put in your agenda’s: Tuesday 27th of October 2015, Unesco World Day of Audiovisual Heritage!
The Europeana Video Remix competition is launched! Students between 13-19 years and their schools are invited to participate in this remix competition for the most captivating video compilation of Europeana’s content. The deadline for submission is 25 May.
How to compete
Participants pick one of the four themes of the competition:
100th Anniversary of World War I
25th anniversary of transformation in Central and Eastern Europe
History of fashion and style
History of technology and media
Then they need to match this theme with relevant archive material from Europeana and related websites (images, pictures, sounds, videos, as well as other digital objects) and compile a video remix out of them. Participants may download the historical content available in the public domain or under Creative Commons for creative re-use. Submitted videos may be entirely or only partly based on the sources found in Europeana and related websites, for example Open Images. All kinds of artistic forms – animation, graphics, samples, fragments of own videos and private images – are very welcome.
Open Images is one of the sources participants can use to search for relevant archive material, either on the Open Images website or in the Open Images collection on Europeana. The Open Images collection contains lots of historic newsreel footage. Just two examples of the sort of videos available on Open Images, one on the history of fashion and style and one on the history of technology and media:
The jury is comprised of representatives from the Europeana Foundation, the National Audiovisual Institute and Johan Oomen from the Netherlands Institute for Sound and Vision. They will select and award the top three remixes submitted individually or as a group work. Each of the authors of the winning remixes will be rewarded with a Fuji Instax mini camera with additional film packs. The most active school, whose students send most videos, will be rewarded with a Panasonic HC-V110 camera.
Workshop 1 – Remixing and Re-Use of Open Video Collections
In the context of the Open Images project, participants of the Remixing and Re-use of Open Video Collections workshop will get creative with material from the historical newsreel collection of the Netherlands Institute for Sound and Vision, to make their own short videos. Led by Maarten Brinkerink of the Netherlands Institute for Sound and Vision, and facilitated by artists Emile Zile and José Miguel Biscaya, creative students, media producers and video amateurs are invited to start reusing and remixing the growing wealth of open video collections that are made available online for use in inspired and inspiring video creations. During the workshop, participants will first become familiar with the Open Images collection, seeing what is available for re-use, and are then, through the guidance of workshop facilitators, offered a creative toolkit of possible styles and techniques they can use with the material to create and tell their own story using this found footage. The workshop takes place in collaboration with MediaLAB Amsterdam.
Participants should come with their own laptop and lots of creative energy.
Workshop 2 – Animated Gif Mashup Studio
Led by artist Evan Roth, Animated Gif Mashup Studio invites participants to work collaboratively to create a single music video composed of their favorite animated gifs. Animated gifs individually tell the story of one meme but, when archived and mashed together, they can tell the story of the entire Internet at that particular moment. During the workshop, Roth will teach participants about the open source animated gif mash-up software he built, how to search for animated gifs and how to put together their own animated gif compilations. By the end of the workshop, the group will create a music video that will be screened during the symposium and on a browser near you (for reference, see http://evan-roth.com/cream.php).
Participants should come with their laptops as well as any songs and/or animated gifs they might like to include.
On the 11th and 12th of March 2011 a next conference about Video Vortex will be organized in TrouwAmsterdam. Conference themes are: Online Video Aesthetics; It’s not a Dead Collection, it’s a Dynamic Database; Country Reports; Platforms, Standards and the Trouble with Translation; Online Video as a Political Tool; and Online Video Art.
On Thursday the 10th of March, the Netherlands Institute for Sound and Vision (in collaboration with INC and NIMk) organizes two workshops at NIMk. These workshops offer participants the opportunity to gather hands-on experience with online video. Participants can work in different creative workshops and play with a range of online video tools and technologies. Facilitated by experts, the topics are: remixes and re-use of open video collections and participatory video production.
On Saturday evening the 12th of March, performances and video projections will take place during an evening program.
This conference is taking place within the SIA-RAAK Publiek program Culture Vortex. Culture Vortex is an innovation program to encourage public participation in online cultural collections.
Consortium Partners: University of Amsterdam, MediaLAB Amsterdam, Netherlands Institute for Sound and Vision, Netherlands Media Art Institute, Virtual Platform, VPRO, Amsterdam City Archive, Museum Boijmans van Beuningen, IDFA, and the International Urban Screens Association.
Economies of the Commons 2: Paying the Costs of Making Things Free International conference, seminar and public evening programs
Amsterdam and Hilversum
November 11 – 13, 2010
Economies of the Commons 2 is a critical examination of the economics of on-line public domain and open access resources of information, knowledge, and media (the ‘digital commons’). The past 10 years have seen the rise of a variety of such open content resources attracting millions of users, sometimes on a daily basis. The impact of projects such as Wikipedia, Images of the Future, and Europeana testify to the vibrancy of the new digital public domain. No longer left to the exclusive domains of digital ‘insiders’, open content resources are rapidly becoming widely used and highly popular.
While protagonists of open content praise its low-cost accessibility and collaborative structures, critics claim it undermines the established “gate keeping” functions of authors, the academy, and professional institutions while lacking a reliable business model of its own. Economies of the Commons 2 provides a timely and crucial analysis of sustainable economic models that can promote and safeguard the online public domain. We want to find out what the new hybrid solutions are for archiving, access and reuse of on-line content that can both create viable markets and serve the public interest in a competitive global 21st century information economy.
Economies of the Commons 2 consists of an international seminar on Open Video hosted by the Netherlands Institute for Sound and Vision on November 11 in Hilversum, a two day international conference and two public evening programs on November 12 and 13 at De Balie, centre for culture and politics in Amsterdam. The event builds upon the successful Economies of the Commons conference organised in April 2008.
Confirmed speakers include:
Charlotte Hess (Syracuse University – Keynote), Ben Moskowitz (Open Video Alliance), Simona Levi (Free Culture Forum), Bas Savenije (KB National library of the Netherlands), Yann Moulier Boutang (Multitudes), Peter B. Kaufman (Intelligent Television), Harry Verwayen (Europeana), James Boyle (Duke University), Jeff Ubois (DTN), Sandra Fauconnier (NIMK), Dymitri Kleiner (Telekommunisten), Nathaniel Tkacz (University of Melbourne), a.o.
On the occasion of the World Day for Audiovisual Heritage and to celebrate the 1000th added video, a few special videos have been added to Open Images. These videos from the Polygoon collection of the Netherlands Institute for Sound and Vision are about the arrival of the first Polygoon newsreels with sound.
From 1922 the audience was able to watch the Polygoon newsreels in the Dutch cinemas. The first years the Dutch audience had to watch these newsreels without any Dutch commentary. The Dutch news was silent and the reports that were imported from abroad only had foreign commentary. Almost ten years after the first Polygoon newsreel this changed. On May 29, 1931 Polygoon showed the first Dutch film with sound in the cinemas. Soon after that, Dutch commentary was also added to the well-known Polygoon Hollands Nieuws (Polygoon Dutch News). Before the first Polygoon Hollands Nieuws with sound was made a few test films were shot. As a test for the sound-film, the director of the film factory Polygoon, mr. B.D. Ochse, read a couple of texts aloud:
To add lustre to the arrival of the first Polygoon Hollands Nieuws with sound, a few prominent figures from the film industry were asked to deliver a speech. Mr. D. van Staveren, chairman of the Centrale Commissie Filmkeuring (Central Film Censorship Board), spoke on film about how delighted he was with the arrival of the sound-film. He thereby also spoke of his displeasure with “all kinds of foreign influences creeping into the Dutch language”, which he mainly blamed on the American sound-film:
Besides mr. van Staveren, the chairman of the Dutch Union of Cinema Proprietors, mr. David Hamburger jr., was also asked to speak about the arrival of the sound-film. He was delighted that he could now understand the foreign news reports just as well as the German, French and English speaking inhabitants of the country. According to him the arrival of the Polygoon Hollands Nieuws with sound was “a real boon”:
Finally, a recording of mr. Ochse in which he announces the sound-film and contemplates on the added value this will have for watching football matches. These will now “enter the cinema with the richness of it’s buzzing sounds”:
EUscreen started in October 2009 as a three-year project funded by the European Commission’s eContentplus programme. Over the project’s duration more than 30,000 items representing Europe’s television heritage (videos, photographs, articles) will be made available online through a freely accessible multilingual portal. As part of the project Open Images will function as a platform for European broadcasters to experiment with open content distribution of television heritage.
The portal will be launched in 2011 and will be directly connected to Europeana. The EUscreen consortium is co-ordinated by University of Utrecht and consists of 28 partners (comprising audiovisual archives, research institutions, technology providers and Europeana) from 19 different European countries. In October the project will organize its first international conference:
Date: 7-8 October 2010.
Location: Casa del Cinema. Largo Marcello Mastroianni 1, Rome, Italy.
EUscreen has organized a two-day conference on content selection policies and contextualisation in the audiovisual domain, to be held in Rome on October 7 and 8 2010. The conference will focus on contextualisation of audiovisual material, especially in the academic field. The conference programme is still under construction, but the first day includes a plenary session focussing on contextualisation of audiovisual material with keynotes and presentations of use cases. The second day comprises two workshops: one on European IPR legislations in the audiovisual sector and the impact on the exploitation of audiovisual and television archives, and one on best practices and guidelines for digitising audiovisual heritage. Attendance at the conference is free but online registration is required.
See www.euscreen.eu for more information on the final programme and for registration.
• Prof. Andrew Hoskins, Professor of Cultural Studies at Nottingham University on media, digitization and memory.
• Dr. Lilian Landes, scientific co-ordinator of the recensio.net project at Bavaria State Library on creating a European Open Access infrastructure for historical reviews.
• Dr. Alec Badenoch, from Utrecht University on Making Europe, virtual exhibits on European cultural heritage.
• Johan Söderberg, lecturer and filmmaker from Sweden on using and reusing archival material in his works, like the series “Read my lips”.
• Dr. Tibor Hirsch, from Film Studies at ELTE University on using digitized material in a creative way to help students understanding the language of film and television.
• Dr. Andreas Fickers, from the Art and Social Sciences at Maastricht University on audiovisual source critique in the age of the web 2.0.
• Peter B. Kaufman, President and executive producer of Intelligent Television. He is also the author of “Marketing Culture in the Digital Age: A Report on New Business Collaborations between Libraries, Museums, Archives, and Commercial Companies”.
• Prof. John Ellis, Professor of Media at Royal Holloway – University of London.
Yesterday was the kick-off for the StrangerFestival 2009 in Amsterdam. During this festival young filmmakers are invited to participate in workshops to improve their skills and produce a movie in only three days. Open Images is very proud to be the starting point for one of these workshops! Under the name “Old Story, New Me” nine young film makers will produce new works based on the material available on the Open Images platform:
Old Story, New Me
How does history influence your life today? This “mash-up” workshop uses old copyrighted news footage that will be mixed with new created content–and thereby placing history in a more current and personal context. Open Images is an open media platform that offers access to a selection of audiovisual archive material to stimulate creative recycling. And in turn, these new works will be added to the platform. Open Images is based upon the Creative Commons licensing model which enables others to freely use the material under the artist’s conditions-and the artist to be flexible in using copyrights. This “open” approach is carried out throughout the platform, by using open formats, standards and software. Every bit of software developed for Open Images will also become available as open source code.
FLOSS Manuals is a great initiative that creates, maintains and gives access to a collection of manuals that explain how to install and use a range of free and open source software. The manuals are friendly and simple, and they are intended to encourage people to explore the wide range of free, open source alternatives to expensive and restrictively licensed software. Since Open Images adopts FLOSS in general and the open video codec Ogg Theora and related open source software in particular, the upcoming Book Sprint looks very valuable:
We will hold Book Sprint about Ogg Theora in August (10-15). We will write a really good manual (book) about Ogg Theora in 5 days. The event will be in Berlin.
We want to cover a lot of stuff, but we hope to get our teeth into at
least some of the following :
-what is theora?
-why do you want it?
-codec basics streaming
-tss (theora streaming studio)
-commandline ffmpeg2theora, dvgrab, oggfwd
-ogg convert editing
-oggtools video conferencing
-cli embedding of subtitles in ogg
-web based subtitle replay with jquery.srt playback
We are keen to get anyone to the sprint that wants to come. There is
some limited travel funds…if anyone would like to attend please let me
The first Open Video Conference was held at NYU Law School on June 19-20. Eminent speakers and practitioners shared their thoughts on the emerging open video movement. The impressive line-up included: Matt Mason (author of The Pirate’s Dilemma), Yochai Benkler and Jonathan Zittrain (both Harvard Law School), Xeni Jardin (Boing Boing), Peter Kaufman (Intelligent Television), Mike Hudack (blip.tv) and Christopher Blizzard (Mozilla Corporation). The conference was put on by Kaltura, Yale Internet Society Project, Participatory Culture Foundation, iCommons and the Open Video Alliance, in partnership with Mozilla, Red Hat, Creative Commons, Level 3, Akamai and many more. Open Images was also actively involved, as Sound and Vision and Kennisland hosted a session “Audiovisual Archives” that investigated how memory institutions could provide access their holdings in a way that enables creative reuse. Continue reading →