Figure 5 - uploaded by Foteini Valeonti
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Although studies have demonstrated that OpenGLAM provides numerous benefits to participant institutions, such as the dissemination of collections and increased sponsorship opportunities (Kapsalis, 2016; Kelly, 2013), the movement’s adoption remains limited. For museums and galleries, the fear of losing image fees, poses as one of the main barriers...
Contexts in source publication
Context 1
... was initially created for the Met's redesigned audio guide service. As explained in ( Valeonti et al., 2018a) several measures were taken to address each barrier identified by Mann and Tung ( Figure 5) individually. Overall, IMS during the pilot had a conversion rate of 2%, with regards to the visitors who registered to IMS, divided by those who submitted an order (Valeonti et al., 2018a). ...
Context 2
... was initially created for the Met's redesigned audio guide service. As explained in ( Valeonti et al., 2018a) several measures were taken to address each barrier identified by Mann and Tung ( Figure 5) individually. Overall, IMS during the pilot had a conversion rate of 2%, with regards to the visitors who registered to IMS, divided by those who submitted an order (Valeonti et al., 2018a). ...
Citations
... The GLAM sector has yet to invent business models to recover image fees that could be lost by open licensing, or giving others opportunities to monetise GLAM content (Sanderhoff, 2013), although there have been some attempts. Print on demand services have been trialled where users can create and purchase products featuring artworks (Gorgels, 2013;Valeonti et al., 2019), or reuse designrelated materials (National Archives, 2016). ...
How can digitised assets of Galleries, Libraries, Archives and Museums be reused to unlock new value? What are the implications of viewing large-scale cultural heritage data as an economic resource, to build new products and services upon? Drawing upon valuation studies, we reflect on both the theory and practicalities of using mass-digitised heritage content as an economic driver, stressing the need to consider the complexity of commercial-based outcomes within the context of cultural and creative industries. However, we also problematise the act of considering such heritage content as a resource to be exploited for economic growth, in order to inform how we consider, develop, deliver and value mass-digitisation. Our research will be of interest to those wishing to understand a rapidly changing research and innovation landscape, those considering how to engage memory institutions in data-driven activities and those critically evaluating years of mass-digitisation across the heritage sector.
The importance of art is indisputable, however access to it remains limited. The Internet and the digitisation programmes of institutions around the world have increased access to art, enabling Internet users to view thousands of artworks. However, accessibility is defined not only as the ability to view artworks, but also to understand, appreciate and use them. The platform developed in the scope of this thesis provides access to art by taking advantage of two phenomena of the 21st Century: crowdsourcing and gamification. Crowdsourcing enables platforms with limited resources to harness the work of volunteers and drive content development, whilst gamification provides the incentive system to motivate participation. Although numerous research projects combine crowdsourcing with gamification, only a small number of them involve the fine arts. Crowdsourcing artworks raises challenges relating to copyright, but also to motivation, as contributors tend not to upload their own content. This thesis documents development of USEUM.org: an on-line art museum that enables people to view, understand, appreciate and use in numerous ways 82,000 artworks from the Renaissance until today by 10,000 artists, out of whom 1,400 are contemporary artists from 105 countries. USEUM demonstrates that an on-line platform can increase access to art by utilising crowdsourcing and gamification. This thesis shows that the area of research involving these phenomena and the accessibility of art has been understudied. The contribution of this thesis is that, by developing USEUM.org, the challenges and the benefits of utilising crowdsourcing and gamification for the fine arts are documented and recommendations are made for both current and future developments in the field, for artists, institutions, and those building online crowdsourcing platforms. Finally, this thesis contributes to insights on the impact that trends in copyright and licensing, such as the open content movement, have on the accessibility of art.
