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Open Science for Arts, Design and Music/Guidelines/Case studies

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Case studies

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The project Open Science for Arts, Design and Music collected a series of case studies from the Swiss schools of art and design participating in the project. The case studies were meant to document the specific problems and challenges in implementing Open Science in the fields of arts, design and music.

Series "Visual Archives", ECAL HES-SO


Title: Series “Visual Archives”
Proposed by: ECAL/Ecole cantonale d'art de Lausanne - HES-SO
Disciplinary field: design
Communication support : print publication, digital publication
Type of content: text, photographs
Timeframe of the project: 2017–ongoing
Author(s): various authors
Third-party copyright owners: museums, private collections, archives
Grantmakers, sponsors or other funding agencies: ECAL, HES-SO strategic fund

Series “Visual Archives”

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“Visual archives” is a book series co-published by Triest Verlag, Zurich and ECAL. Launched in 2017, the series features the results of research projects initiated and carried out at ECAL. It aims at exploring the archives of authors, designers and brands. Each volume is published in two different editions (English as main language, with a second edition in another national language), on such topics as Vico Magistretti, Eugen Gomringer, Bobst Graphic and Hermann Eidenbenz. Books published after 2024 will be released in open access to comply with funders' requests. In view of this move towards open access, the question arises as to whether to open also previous publications in the series, and how to then proceed.

Problems/questions

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  • How to open a printed publication retrospectively
The guidelines offer a best practice to turn closed access publications into open access retrospectively
  • How to deal with copyright clearance of third parties materials
Guidelines: 4.4.1. Copyright clearance and personal data
The Ehrenreich Collection, HKB


Title: The Ehrenreich Collection
Proposed by: HKB, Bern Academy of the Arts
Disciplinary field: music, theater
Communication support : multimedia
Type of content: video/audio recording
Timeframe of the project:
Author(s): various authors
Third-party copyright owners: authors, performers, producers
Grantmakers, sponsors or other funding agencies: BFH, HKB, Roy Ehrenreich Fund, Memoriav

The Ehrenreich Collection

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Leroy Allan Ehrenreich (1929–2016) was an opera enthusiast from New York who left behind a sizeable collection of (live) recordings of opera performances and recitals, partly unique to this collection. Since 2017, the collection is in the possession of the Bern Academy of the Arts (HKB). In the course of two projects between 2018 and 2020 the Ehrenreich collection was partly digitized. However, as the most valuable recordings in the collection resulted from unauthorized live-recording as well as from bootleg radio recording, ethical and copyright issues need to be addressed before its large-scale scientific investigation can begin.

Problems/questions

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  • Longterm sustainability: How to chose a long-term preservation format that ensures the longterm digital sustainability of the archive?
Upon reception of the collection in 2017, an initial examination of the reel-to-reel tapes containing the live recordings and the radio bootlegs took place with the help of an expert from the Swiss audiovisual competence network Memoriav. The examination came to the result that the more than 2000 tapes were already beyond their expected lifespan and were therefore at a relatively high risk of physical decay. After transferring the tapes to a location with adequate climatic conditions, the stepwise digitization of the tapes was initiated in 2018.
To facilitate the management and the use of the collection, the collection catalogue was transferred from a word processing to a spreadsheet format. After a test run with two different service providers, a German company was selected as digitization partner, and several batches of tapes have so far been sent to them. As part of the digitization process, all the recordings on a given tape are transferred to a lossless WAV format. Furthermore, images are taken of the tape itself, its case, and all the documentation material contained in the case. The main limitation hampering the digitization process has been the limited budget.
  • Data storage: How and where to store the big volumes of data?
As of May 2024, approx. 16% of the archive have been digitized, occupying ca. 5.8 TB of storage space. The Bern University of Applied Sciences has provided the project with a share in a Ceph storage. An additional long-term archiving solution will be looked into in case the archive should become the object of a scientific research project financed by the SNSF. Data relevant to publications resulting from an SNSF project must be stored in a FAIR data repository following the SNSF recommendations for Open Research Data. The choice will fall either upon OLOS or Zenodo, the two data repositories used by researchers at the HKB.
  • Data processing: How to select or develop appropriate software for studying and handling the data?
The digitized audio files can be used with a wide range of common applications. For audio analysis and annotation, the software suggested is Sonic Visualizer, an open-source software continually developed by a large community on GitHub and already used in other research projects at the HKB.
  • Legal status: How to clarify the legal status of the collection?
The collection was bequeathed to the HKB by the collector, Leroy Ehrenreich (1929–2016), with the intent of creating a digital library of recorded vocal music intended for the use of the academic community and for scholars. The contract was prepared and signed by the executor of the collector’s will. The material was shipped from New York to Bern in 2017.
  • Copyright: How to clarify the identity of the rights holders and obtain permission to use the recordings?
Large parts of the mainstream operatic repertoire, which is the focus of the Ehrenreich collection, is in the public domain. While copyright in the narrower sense can thus be considered a negligible problem, complex issues arise from neighbouring rights (related rights of performers and broadcasters). The collection originated from illegal recordings of live performances (bootlegs), copies of commercial recordings, and copies of radio broadcasts. Thus, many instances may be holding neighbouring rights: the performers, the opera houses, the original recording companies, and broadcasting corporations. Legal advice was sought from different parties to clarify the status of these recordings. While these may possibly be used freely for research purposes or in teaching (according to some advisors, this can be considered “fair use”), it is advisable to search for a solution if any portions of the archive should be published. The envisaged solution (as of May 2024) is to ask for licenses from SWISSPERFORM, the organization managing neighbouring rights on music performances in Switzerland, on a case-to-case basis.
  • Ethical issues: How to deal with illegal recordings of sound, speech and music?
Since all recordings were made without permission, it is ethically questionable if any portion of the archive should be published. The question is not new and has been debated in studies mostly concerning bootlegs of pop music, albeit without a clear answer. The main concerns in this field are that performers might not have performed at their best and therefore might not want a performance to be externalized, and that they might suffer a financial loss due to unauthorized recordings being distributed instead of authorized ones. One of the main arguments made by bootleggers is that performers 'publish' their art whenever they perform it, and therefore cannot 'take it back' once it is out there. They furthermore argue that bootlegs typically do not replace the sale of official recordings but complete them, because fans find an 'authentic' quality in unmastered recordings they cannot access in authorized ones.
Participatory Knowledge Practices in Analog and Digital Image Archives (PIA), HKB


Title: Participatory Knowledge Practices in Analog and Digital Image Archives (PIA)
Proposed by: HKB, Bern Academy of the Arts
Disciplinary field: digital humanities, design
Communication support : website, GitHub repository, publication, workshop/event
Type of content: code, interface, data visualisations, images, metadata
Timeframe of the project: 2021-2025
Author(s): various authors, users generated content
Third-party copyright owners: Swiss Society of Folklore (SGV) for archival images and maps
Grantmakers, sponsors or other funding agencies: SNF Sinergia, SKKG and others


Participatory Knowledge Practices in Analog and Digital Image Archives (PIA)

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In cooperation with the photo archive of the Cultural Anthropology Switzerland (CAS) (former Swiss Society for Folklore Studies), the research project "Participatory Knowledge Practices in Analog and Digital Image Archives (PIA)" develops a dynamic digital archive and an interface that allow different interest groups (archivists, curators, researchers and interested members of the broader public) to explore, analyse, group, edit, describe, and extend a collection of over 100’000 images and maps from Switzerland.

Problems/questions

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  • Longterm sustainability: How to ensure the digital sustainability of developed software solutions beyond the duration of the SNF project
  • Data storage: How and where to store big volume of data
  • Users generated content: How to deal with the copyright of content that is created and uploaded by users
  • Anonymisation: How to ensure the digital security of private user data
  • Participatory projects: How to deal with ethical and practical issues of data sovereignty within participatory research project involving users generated data
  • Open sources and open codes: Best practices for releasing softwares and codes (e.g. data visualisations) in open access
DMP: Training and awareness in research data management planning, EDHEA HES-SO


Title: DMP: Training and awareness in research data management planning
Proposed by: EDHEA, The Valais School of Art
Disciplinary field: visual art, design
Communication support : DMP templates, training formats
Type of content: artwork, performance, photography, sound, illustration, text, video/audio recording
Timeframe of the project: 2022–ongoing
Author(s): Jelena Martinovic, Kate Espasandin, Dr. Jean-Paul Calbimonte and Prof. Alexandre Cotting
Third-party copyright owners:
Grantmakers, sponsors or other funding agencies:

DMP: Training and awareness in research data management planning

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The case study "DMP: Training and awareness in research data management planning" builds on the ongoing activity of data management plan (DMP) trainings for research staff at EDHEA, organised by the Institute of Visual Arts (Jelena Martinovic) and the library services (Kate Espasandin) in collaboration with data specialists from the HES-SO Valais-Wallis RDSN network (Dr. Jean-Paul Calbimonte and Prof. Alexandre Cotting). A total of 8 training sessions have been scheduled for 2022. Each session is organised around a specific research project (ongoing or in construction) with the aim to complete a DMP which will reflect the evolution and diverse practices of data management in art research projects. At the same time, a series of folders have been created on a password protected HES-SO IT server where data for each project can be stored securely and durably and accessed if needed by third party members. Each training session works with a RSDN developed DMP model (an excel sheet) to answer collectively, step by step, questions related to four crucial aspects: 1) data collection 2) ethics, legal aspects, security 3) data storage 4) data sharing. The training sessions are documented (i.e., minutes, video recordings, notes) with the aim to build an inventory which will reflect arts-specific data management questions and reflect the broader issues at stake with data sharing. The completed DMPs will be made available to all researchers and will be accessible online (via the RSDN network, as well as on an EDHEA webpage).

Problems/questions

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  • DMP template: How to develop an art-specific DMP model
Prepare your Data Management Plan (DMP) for Arts, Design and Music

Data Management Plan (DMP) for Arts, Design and Music

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The value of Data Management Planning

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Even if the term data does not always resonate well with the communities of cultural practitioners, creative artists and scholars working in the arts domain, keeping a data management plan (DMP) as a living and evolving document throughout the lifetime of a research project is a useful tool. It gives an opportunity to systematically think through, make decisions about and document inputs, throughputs, and outputs of the project and highlight their important provenance details, legal or ethical challenges or sources of uncertainties. It is a roadmap that facilitates a shared understanding within the project (even in case of a solo project, like writing a dissertation) over which resources will be used, curated and produced during the project, how to backup and store them in a secure way, how to select resources for publication, in which forms and formats to publish them, what are the outputs that need long-term preservation and sustaining and how to document them and what are the associated costs and efforts.

Data Management Plans as a funding requirement

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Increasingly, keeping a DMP alongside research projects is becoming a condition of funding by many research funders, such as SNSF or Horizon Europe.

Data Management Plans required by SNSF
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Since October 2017, the submission of a data management plan (DMP) has been mandatory in most funding instruments. The SNSF also expects that data produced during the research work will subsequently be publicly accessible in digital databases, provided there are no legal, ethical, copyright or other clauses to the contrary (source). The SNSF DMP is relatively short: its expected length is about 2 pages of text in total, answering 10 questions, plus 2 checkboxes (source). It consists of four sections: (1) data collection and documentation, (2) ethics, legal and security issues, (3) data storage and preservation, and (4) data sharing and reuse.

You can find further information, FAQ guidelines and contact to support services under the following links: https://www.snf.ch/en/FAiWVH4WvpKvohw9/topic/research-policies

https://www.snf.ch/de/dMILj9t4LNk8NwyR/thema/open-research-data

Video support broken down section by section:

Data Management Plans required by Horizon Europe
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Open Science for Arts, Design and Music/Guidelines/Horizon Europe/DMP

Data Management Plans templates

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Checklist of the most important milestones throughout the research workflow that enable Open Access (and FAIR) sharing of research results and accompanying resources

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  • Terms and conditions requests by grantmakers (examples from SNF, European research programmes)
  • Terms and conditions of your institutions (open access policy, regulations related to copyright, code of conduct, examples from the schools)
  • Terms and conditions of the partner organisations (examples from museums, other universities, NGOs, companies…)
  • Available data storage and other data infrastructure (cloud services such as NextCloud, data repository, OMEKA instance etc.)

Tips

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  • Active involvement of all the project partners is key in a successful implementation of the DMP.
  • Doing research is usually not a linear process. In case DMPs are expected to be updated throughout the project lifetime, it is more than ok to indicate uncertainties, decisions to be made later in the initial versions of DMPs.
  • Indicating costs associated with preservation, publication and sustaining of project outputs is a key component of DMPs. It includes both time and effort spent with e.g. documentation and preparing resources for publication and in some cases also monetary costs. This resource guides you through the cost estimation aspect of DMPs: https://zenodo.org/record/4518901#.YxXxw7RBxD8

Data Management Plans tools

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You do not have to use specific tools while working on project DMPs apart from an empty document but there are available DMP creator resources that systematically guide you through the process, such as:

General approach

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Open by default - open licenses on all content where possible (CC0 for data; CC BY for texts, video, images; CC BY-SA for collaborative projects involving citizens) - OVERVIEW CHART of the CC licenses - which license what is allowed, which research scenario

  • Getting started with rights management FLOWCHART (ongoing project in the middle, backwards: identification of the rights holder, authorization where needed etc.; forward: OA to resulting publications, copyright retention and all the other OA-related issues that are to be negotiated with the publisher.
  • Include the rights management in the project (template)
  • Agreement with institutions - Heritage Data Reuse Charter (template)
  • Agreement with all the project team (including researchers, students, citizens, participants…)
  • Ethics of research and protection of privacy, sensitive data and GDPR
  • Training: How to establish a sustainable training strategy which includes also peer learning methods
  • Data storage: How and where to store training material
Guidelines: 6.3.5.a Share your training material
Training (in Italian): Il diritto d'autore nell'insegnamento e l'Open Access, di Suzanna Marazza, 2023.
EPoD: bringing together OA research outputs with a traditional publication, EDHEA HES-SO


Title: EPoD: bringing together OA research outputs with a traditional publication
Proposed by: EDHEA, The Valais School of Art
Disciplinary field: visual art, design, theory
Communication support : print publication, videos
Type of content: artwork, photograph, text, video
Timeframe of the project: 2020-2022
Author(s): Federica Martini, Julia Wolf, Kadiatou Diallo, Caterina Giansiracusa, Petra Köhle and Nicolas Vermot-Petit-Outhenin (status March 2022)
Third-party copyright owners: edition fink (publisher), League of Nations archives (partner), authors
Grantmakers, sponsors or other funding agencies: HES-SO

EPoD: bringing together OA research outputs with a traditional publication

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The case study explores the results of the research project EPoD – esthétiques politiques du don au Palais des Nations, and focuses on its various outputs. The entire body of data produced by the research team includes video and audio materials, in various forms and stages of editing, texts, photographs, and installations. How and whether these materials will be made accessible to the public is still an ongoing conversation. The publication brings together on the one hand, photographs taken at the Palais des Nations in Geneva between October 2020 and January 2021 as part of the EPoD research project and, on the other hand, contributions by various authors who produced texts based on specific collections from the League of Nations archives – with a particular focus on the gifts made by member states to help decorate the Palais des Nations after its construction. The publication aims to explore the relationship between diplomatic language, political interest, and the incoming aesthetic of the gifts to the Palais des Nations.

Problems/questions

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  • Visibility and accessibility: How to improve visibility and accessibility of open access publications and materials
  • Publishers: How to negotiate with publishers and raise their awareness about the benefits of open access
Guidelines: 6.2. Negotiating for open access
  • Multimedia: How to include different degrees of open access multimedia material in a digital publications
Guidelines: 6.4. Models of innovative publications: accommodating multimedia in open access
Training: (Un)limited Options – Open Access and multimedia publications, by Friederike Kramer, Universität der Künste Berlin, 2024.
  • How to maintain control over open access material and check its further use by the public
Guidelines: 1.2.3.h. What if someone does something with your CC-licensed work you disagree with?

Outcome

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Womanhouse Open Access publication, EDHEAA HES-SO


Title: Womanhouse Open Access publication
Proposed by: EDHEA, The Valais School of Art
Disciplinary field: visual art
Communication support : print publication
Type of content: photography, illustration, text, video
Timeframe of the project: 2022-2023
Author(s): Federica Martini, Julia Taramarcaz, Lynne Littman, Chloé Vauthey, Olivia Fahmy, Cecilia Canziani (translation of a text published in 2021), Rebecca van Ohner (translation of a text published in 2018), Amelia Jones (translation of a text published in 2016), Elisabeth Lebovici, Giovanna Zapperi (reproduction of a text published in 2017), Nicole Schweizer (reproduction of the original French version of an essay published in German in 2009), Griselda Pollock (translation of a text published in 1999)
Third-party copyright owners: archives, museums, publishers
Grantmakers, sponsors or other funding agencies: La Ville de Martigny

Womanhouse Open Access publication

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This publication was initiated during the 2021 Womanhouse exhibition at the Manoir de Martigny. It offers a series of previously unpublished archival documents about feminist exhibition practices between 1971 and 2021. It is a dialectical and open publication which aims to assess historical feminist questions’ resonance with and relevance to contemporary artistic and curatorial practices.

Divided into three sections, this book opens with two previously unpublished essays on the Manoir de Martigny exhibition and historical exhibitions (1971-72) organised by the Feminist Art Program (FAP) at CalArts. This section also features a written conversation with film-maker Lynne Littman, author of the documentary “Womanhouse is not a home” (1972) and an essay on the notion of domesticity/domestication following recent trends in migration and intersectional feminist studies. The second section of the publication explores a larger context to what Griselda Pollock calls “the feminist interventions in the histories of art” by examining international collective feminist exhibitions from the 21st Century.

Problems/questions

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  • Third parties content: How to clear the copyright and negotiate reproduction rights of third parties' materials
Guidelines: 4.4.1. Copyright clearance and personal data
  • Translation: How to deal with the translation of copyrighted texts
  • Publisher: How to negotiate open access with publishers and raise their awareness regarding benefits
  • Funding: How to fund an open access publication
Guidelines: 7. FUND your research

Outcomes

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  • Some articles are accessible online on ArODES, but they are not released with an open licence.
Silk Memory, HSLU


Title: Silk Memory
Proposed by: HSLU, Lucerne University of Applied Sciences and Arts
Disciplinary field: design, textile design, cultural history
Communication support : website, database
Type of content: photographs, metadata, texts
Timeframe of the project: 2012-15 preliminary projects, 2015-19 main project, 2022-25 funded archival operations
Author(s): various authors
Third-party copyright owners: Zurich Silk Association (ZSIG), Lucerne University of Applied Sciences and Arts, School of Art and Design
Grantmakers, sponsors or other funding agencies:

Silk Memory

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The Silk Memory project aims to provide access to 200 years of Zurich silk design by creating and maintaining a physical textile archive and building a textile database. In close cooperation with museum partners, teachers, students and practising designers, a representative selection of fabric samples from textile archives of the Zurich silk industry was collected, indexed and made available online. On the basis of this background the Silk Memory web portal has been developed. It aims to be a research tool for teaching, research and above all as a source of inspiration for contemporary design work. The user interface was developed by the Astrom/Zimmer design studio and in close cooperation with the Silk Memory project team.

Problems/questions

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  • Storage and longterm sustainability: How to store and ensure longterm sustainability to the database
Guidelines: 5.2.3. Find a preservation-friendly home for your data
  • Copyright: How to clear the copyright of third parties' material
Guidelines: 4.4.1. Copyright clearance and personal data
  • Creative Commons (CC): How to select and use CC licenses in order to comply with open access requirements
Guidelines: 1.2.3.f Open versus non-open CC licences; 4.4.2. Mark your work with a licence
Training: Creative Commons and Open Science for Arts, Design and Music by Brigitte Vézina, Creative Commons International, three sessions, 2023.
  • Open Access Platforms: how to store data on platforms such as Europeana
Timeline Economies of Performance Art, HSLU


Title: Timeline Economies of Performance Art
Proposed by: HSLU, Lucerne University of Applied Sciences and Arts
Disciplinary field: visual art
Communication support : digital (plug in on a website) and printed publication
Type of content: images
Timeframe of the project: 2019-2023
Author(s): Rachel Mader, Siri Peyer
Third-party copyright owners:
Grantmakers, sponsors or other funding agencies: SNF

Timeline Economies of Performance Art

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Part of the research project ‘Collecting the ephemeral. Prerequisites and Possibilities for Making Performance Art Last’ (SNF 2019 – 23) is a timeline of moments, when performance art was commercialised. This timeline is a plug-in which will be included on the website and is nurtured by images from the internet. Images are included via a link on the website they are originally posted.

Problems/questions

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  • Copyright: Clarify the copyright status of the images used and, eventually, how to deal with copyright clearance
  • Longevity: How to ensure the longevity of the linked image
  • Format: Differences between online/digital and printed publications when dealing with copyright and open access
Mapping Self-Organization in the Arts, HSLU


Title: Mapping Self-Organization in the Arts
Proposed by: HSLU, Lucerne University of Applied Sciences and Arts
Disciplinary field: visual art
Communication support : digital (online mapping based on a database) and printed publication
Type of content: images, texts, archival material
Timeframe of the project: 2014–2019
Author(s): Rachel Mader and Pablo Müller (editors of the printed publication), Peter Spillmann (concept and design of the online mapping)
Third-party copyright owners: artists, cultural workers, ProLitteris
Grantmakers, sponsors or other funding agencies: SNF
Wikidata item about the research project: Q129406103

Mapping Self-Organization in the Arts

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Problems/questions

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  • Copyright: What the copyright status of the images and document used is and how to deal with copyright clearance
Guidelines: 1.2.1. Copyright, an overview, 4.4.1. Copyright clearance and personal data
Training: Copyright and Open Access in Switzerland by Suzanna Marazza, 2023.
  • Longevity: How to ensure the longterm viability of the database and website
Guidelines: 5.2.3. Find a preservation-friendly home for your data
  • Database: How to make the entire database available for future research
Guidelines:

Implementation of the case study

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History of the case study

Improve Mapping Self-Organization in the Arts/History


 
Website of the research project

The research project "OffOffOf. Swiss Cultural Policy and Self-Organization in the Arts since 1980" (SNF 2014 - 2019) produced a database on self-organised art initiatives in Switzerland. The database contains archival material and photographs of self-organised art initiatives as well as documents from policy makers. A selection of the database is publicly accessible via an online mapping that allows for temporal and geographical visualisation of the information. The materials from self-organised art initiatives are mainly from private archives and the documents from policy makers are publicly available. The documentation has also been published in a monographic publication.

Publication pdf: file:///Users/kpmuelle/Downloads/978-3-0358-0548-2-book_8634.pdf-4.pdf

Case study of the project Open Science for arts, design and music

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In the frame of the project "Open Science for arts design and music" a case study was created around this research project addressing issues about how to improve the permanent archiving and reuse of its documentation.

Self-organized Art Initiatives in Switzerland at the GLAMHack Luzern 2024

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Team at the GLAMHack 2024

The documentation of the research project was at the centre of the challenge "Self-organized Art Initiatives in Switzerland" presented and implemented during the GLAMHack Luzern 2024, the Swiss Open Cultural Data Hackathon (6-7 November 2024): https://hack.glam.opendata.ch/project/222. The challenge allowed to address the problems/questions identified by the case study and implemente a series of solutions. Worked on the challenge Birk Weiberg (created the challenge, uploaded data on GitHub, edited the data, made the uploads on Wikidata), Pablo Miller (co-directed the research project, provided background about the project, provided authorisations, provided data in collaboration with the web administrator, created to Zenodo community), Iolanda Pensa (made the Data Management Plan and the documentation of the case study, contributed to the clearing of the licenses, the analysis of the data, and the open strategy) and Omar Abdesslem (contributined to editing the data, visualization and uploading them on Wikidata) and with the contribution of Rita Gautschy (reviewed the data management plan and the documentation).

 
The challenge on the website of the GLAMHack
Before the GLAMHack
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  1. Creating the challenge on the GLAMHack 2024 website https://hack.glam.opendata.ch/project/222
  2. Exporting data from the website https://selbstorganisation-in-der-kunst.ch/
  3. Upload of the data on GitHub https://github.com/birk/swiss-art-initiatives
  4. Clearing of licenses https://github.com/birk/swiss-art-initiatives/blob/main/README.md
During the GLAMHack
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Results of the GLAMHack
  1. Analyse data produced and collected by the research project by creating a DMP Data Management Plan.
  2. Creating a notepad for the event to coordinate the work https://etherpad.wikimedia.org/p/artinitiatives.
  3. Clarify copyright status and documents and possible steps to clarify copyright and requesting authorisations.
  4. Identify possible actions to improve permanent archiving and reuse and to identify steps to make the most relevant content more accessible.

Dataset on Wikidata

  1. Reviewing the available data.
  2. Identifying the Wikidata Items to be used.
  3. Structuring the data and prepare them for the upload on Wikidata using OpenRefine.
  4. Uploaded data and information about the Wikidata upload.
  5. Producing a series of simple visualisations with the data.
Possible next steps after the GLAMHack
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  • Email to the practitioners promoting and managing artists initiatives to invite them to update the item related to their institution on Wikidata and upload some images of their spaces and artworks on Wikimedia Commons (general view of the spaces and only artworks of the uploader)
  • Training to explain how to edit Wikidata and Wikimedia Commons (online presentation and/or workshop at the School of art and design in Luzern)
  • Data about art spaces can be uploaded or checked also on OpenStreetMap and connected the the item on Wikidata
  • The dataset can be made available also to other databases/websites/portals presenting information related to independent art spaces in Europe or around the world to integrate data related to Switzerland
  • The Wikidata item related to the art initiatives can be included in the website of the research project
DMP Data Management Plan

Improve Mapping Self-Organization in the Arts/DMP

The Data Management Plan was produced after the end of the research project to analyse the data produced by the research and to identify ways to improve its permanent archiving (use of repositories which can guarantee long term archiving and provide metadata, and presence of a DOI) and facilitate the reuse of its content (licenses, open and standard formats, uploads on Wikidata). The Data Management Plan also looked at the specific relevance of the content produced by the research, to highlight a selection of content which can be particularly important to disseminate and make accessible.

DMP - 07/09/2024
Content Where it is stored Owner Authorisation Copyright or open license DOI Wikidata Permanent archiving Facilitating reuse Relevance
Research project Authors/Institutions Implicitly in the research project CC BY and CC0 for structured data (stated on GitHub) d:Q129406103 Community on Zenodo Default license CC BY 3.0 for content, CC0 for structured data, unless differenlty stated
Publication Direct link to the publication https://www.diaphanes.net/titel/unabhaengig-prekaer-professionell-7363 Authors/Institutions Implicitly in the research project CC BY 3.0 Ok Q130250557 √ Publication in open access with a license (a bit confusing the license)

√ Some articles on Zenodo

√ PDF (open format)

*Item on Wikidata

*Creating a community about the project on Zenodo

Easy to cite, secondary source, list of institutions
Website https://selbstorganisation-in-der-kunst.ch

https://doi.org/10.5281/zenodo.13767099

Project Implicitly in the research project None No Backup of the website on GitLab

*Copy on Internet Archive??

*Copy of the website on Zenodo to generate a DOI

*Adding the license (possibly with html code)

*Adding information links to the data

Database (extrated from the website) GitHub https://github.com/birk/swiss-art-initiatives Project Implicitly in the research project CC0 and CC BY 4.0 OK √ Copy on Zenodo to have a DOI √ Accessible

GitLab of the University of Luzern would be a better solution

Interviews (transcripts) https://www.oralhistoryarchiv.ch/projekte/forschungsprojekte/interviews-im-rahmen-des-snf-off-offoff-of-schweizer-kulturpolitik-und-selbstorganisation-in-der-kunst-seit-1980 Project and intervieewed Authorisation to publish them on Oral History Archive © Texts visible No √ In the archiving system of ETH √ Authorisation only for Oral History Archive

Interviews accessible

Extremly valuable
Audio Servers of the institutions? Project and intervieewed No authorisation, voice is private, very heavy © !! challenges:

needs postproduction to make it available It is probably more reasonable to only keep the transcripts and to erase the audio

Images of some art spaces In the website People from the art spaces - attribution included Authorisation to publish them in the publication and website © Backup of the website on GitLab

√ Images in the publication

*Asking the authorization to put the images on Wikimedia Commons

!! challenges: images inclusing contemporary artwork (copyrighted): artists need to provide their authorisation

Can present the work of artists and art spaces

Reused on Wikidata

Documents of public administrations In the website Public documents about public policies (public domain produced by public administrations) Public domain © (public domain) Backup of the website on GitLab

√ Some documents included also in the publication

Documents from private archives: articles, notes, posters... In the website Authors/Institutions Authorization to publish them in the website and publication © Backup of the website on GitLab

Copy on Internet Archive??

√ Some documents included also in the publication

Extremly valuable
Bibliography: publications, gray literature School of art and design in Luzern Authors/Institutions No authorisation to disseminate them but to use them and cite them ©
Other publications Most of them on Zenodo Authors/Institutions Open access policy of the institution CC BY 4.0 *Adding everything on Zenodo

*Adding the communty to Zenodo

Presentation - conferences (eventually also with videos) At the moment not accessible Authors/Institutions Open access policy of the institution CC BY 4.0 *Adding at least a selection on Zenodo

*Adding the communty to Zenodo

Videos - recordings of presentations and conferences On youtube or link in the website of the conferences Authors/Institutions Open access policy of the institution CC BY 4.0 Videos can be uploaded with metadata and the slides of the presentations on Zenodo
Researchers involved ORCID

Where content has been stored

Adventages Disadventages
Website Design, visualisations It doesn't guarantee permanent archiving

It doesn't have a DOI

It is necessary and important to backup the data and make them available on other repositories

Oral History Archive Owned by ETH.

Non profit repository managed by a large institution. It allows access to the sources and citation. Thematic archive.

Content from the project uploaded to the Oral History Archive has not been released with an open license (but it can be viewed).
Zenodo It is the repository used and recommended by the School of art and design of Luzern

It guarantees permanent archiving

It is difficult to browse data on Zenodo

It is important to create a community on Zenodo to connect different articles, content to the project and find them more easily The community on Zenodo can be linked to the Wikidata item of the research project and can be added on the project website

GitHub Useful repository for code and datasets

Very used by designers.

Proprietary tools (owned by Microsoft)

During the GLAMHack we used a personal account; it would be better to use an institutional account Important to backup the data on Zenodo and generate a DOI

GitLab Open non commercial tool

There is an account owned by the School of art and design of Luzern.

Useful repository for code and datasets

Difficult to access and use the institutional account

Important to backup the data on Zenodo and generate a DOI

Wikidata Dissemination of data

Data can be updated by the communities (including owners of the art spaces and art initiatives).

Data can be connected to other data (linked open data).

Data from Switzerland can be visualised and analysed, combined with data from other countries.

The research, its publication and dataset can be linked to the data as a source or reference.

It is important to keep copy of the data produced by the research in an external platform which can guarantee permanent archiving and provide a DOI

Data on Wikidata can be erased and it is important to follow the rules of the online communities.

Data about people can present specific challenges.

Georeferenced data produced in Switzerland are not interoperable with Wikidata and OpenStreetMap, and they need to be converted.

Wikipedia Content from the research can enrich articles related to art history in Switzerland, artist-run initiatives

The research can contribute to better define the terminology, to update the biography and to enrich data

Not all art initiatives can have an article on Wikipedia.

Sometimes the terminology is not precise and it is not easy to change the name of an existing article.

The are not many people active in the fields of art, art system and artists initiatives on Wikipedia; this makes it a bit more complicated to contribute and it is important to do it with proper sources and good quality contributions.

OpenStreetMap Data about art spaces can be updated on OpenStreetMap

Data of OpenStreetMap can be connected to Wikidata

Georeferenced data produced in Switzerland are not interoperable with Wikidata and OpenStreetMap, and they need to be converted.

Reuse and relevance of data

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Filling Knowledge Gaps

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Topics of the projects specifically relevant.

  • Making content available on Wikidata
  • Linking content to international projects about self-organised art initiatives
  • Improving articles on Wikipedia in particular about art history in Switzerland, in specific cities and in the frame of art initiatives.
  • History of cultural policies and how they changed in Switzerland
  • Geography and chronology of self-organised art initiatives in Switzerland
  • Improving understanding of the terminology related to art initiatives.
Term Comments Wikidata Wikipedia
Artist-run initiative No
Artist-run space Q4034417 Article in EN with situation in different countries; no IT, FR; article in German is Offspace
Self-organized art Initiatives Preferred by the project
Artists initiatives
Self organised initiatives
Self organised space
Alternative art space
Artist run initiatives
Art institution Q20897549 None
Cultural institution Very bad articles on EN, IT, FR
Not-for-profit arts organization Q7062022 Article on EN (only English)
Independent art spaces
Wikidata

Improve Mapping Self-Organization in the Arts/Wikidata


The dataset of the research project has been uploaded on Wikidata during the GLAMHack 2024.

  • Item on Wikidata about the research project d:Q129406103
  • Item on Wikidata about the research publication Q130250557

Analysis of the data from the Website

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Read me document on GitHub https://github.com/birk/swiss-art-initiatives/blob/main/README.md

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Art initiatives - total number 713
Data available Description On Wikidata Comments
Name Name of the art initiative in different languages Label It could go on "title" but it requies the qualification of the langague
Instance of artist-run initiative
Location Canton Country Please note that several institutions move and change location
Self-description How the institutions describe themselves. Quite long text, in German, French and English; there is a reference Description requires a short text possible in several languages Relevant text, not suitable for Wikidata, but it can be used for articles on Wikipedia if the institutions are notable (the texts always report the source)
Agenda Notes about exhibitions and projects Relevant text, eventually it might be used on Wikidata manually
Org form Provide information about the type of organisation: group, foundation...
Website Sometimes facebook page official website
References People who wrote about them
Documents Related documents
From data Starting date of the initiative inception
End date
country
location
street address
Activities Radval - Evaluation of the activities
Reference to the resource project described by source(P1343) Important to include the reference to the research project and to the publication as source of data
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People - total number 2427
Data available Description On Wikidata Comments
Name Label
Lastname
Role Role with
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Data were added to the art spaces.

Places - total number around 1000
Data available Description On Wikidata Comments
Name
Address
Geocoordinates Need to be corrected
Starting date
End date

Queries to access the data

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List of all projects based on Wikidata https://w.wiki/B7iB

Data can be visualised on a map. World map of artist-run initiatives based on Wikidata https://w.wiki/B7gt

A timeline can be provided about the art initiatives. Timeline_Chart based on Wikidata https://w.wiki/B7jT

  •  
    Timeline

Babble chart showing the duration of the art initiatives. Bar & Bubble Chart based on Wikidata https://w.wiki/B7kL

Analysis and lessons learned

Advantages

  • Clearing of licenses implemented through the data management plan
  • The process of uploading data on Wikidata has produced more structured and cleaned data
  • The data of the research project have been uploaded on Wikidata
  • On Wikidata, accessing linked open data associated to the research data allows new analysis. Wikidata can contribute not only to the visibility and reuse of the data produced but also to the research.

Challenges

  • Producing a website is challenging because it is difficult to guarantee the long term preservation of the website and its sustainability.
  • It is difficult to access the institutional infrastructures and to use independently and rapidly the resources (i.e. GitLab of the institution)
  • The publication presents the license with the line "Dieses Werk ist lizenziert unter einer Creative Commons Namensnennung 3.0 Schweiz Lizenz". It would be best to include the logo of the license, the international license 4.0, a link to the license and the sentence "unless differently stated".
  • Geographic coordinates in the database need quite some editing because they do not follow the same standard of Wikidata or OpenStreetMap

Lessons learned

  • Include the CC BY license in the research project (project proposal), and specify that data are released under CC0 (interoperable with Wikidata).
  • Ask authors/institutions to provide images under CC BY license and/or CC BY-SA.
  • Wikidata can be included in the research process to enrich the research data (with linked open data) and to allow different and new analysis
Video Essay: Futures of Audiovisual Research and Teaching, HSLU


Title: Video Essay: Futures of Audiovisual Research and Teaching
Proposed by: HSLU, Lucerne University of Applied Sciences and Arts
Disciplinary field: media, cultural, science, technology studies
Communication support : online on various channels and platforms
Type of content: film excepts, images, sound, text
Timeframe of the project: 2021–2023
Author(s): Johannes Binotto (head of the project)
Third-party copyright owners:
Grantmakers, sponsors or other funding agencies:

Video Essay: Futures of Audiovisual Research and Teaching

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The project "Video Essay: Futures of Audiovisual Research and Teaching" investigates the potential of video essays and videographic practices as a new approach in hybrid academic teaching, as a new research apparatus and epistemological laboratory and as a new form of scientific publication in the digital age. Video essays use existing sounds, images, and film footage and transform them into audiovisual devices that reflect on their own function, production, and implications.

Problems/questions

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  • Copyright: Clarify the copyright status of the material used; Clarify the limits of the Swiss legislation concerning the right to cite for scientific and illustrative purposes (quotation right) and international equivalents (fair use)
Guidelines: 1.2.1. Copyright, an overview; 1.2.2. Copyright in Switzerland; 2.3. Principles: 2.3. Principles: be FAIR
Training: Copyright and Open Access in Switzerland by Suzanna Marazza, 2023.
  • Publishers: How to improve publishers understanding of copyright issues and raise their awareness regarding open access
Guidelines: 6.2. Negotiating for open access
Together Elsewhere, HGK Basel


Title: Together Elsewhere
Proposed by: HGK, Basel Academy of Art and Design FHNW
Disciplinary field: performance art
Communication support : live-streaming events, community-posts on PANCH-Communication Channels and FHNW Website
Type of content: performance art
Timeframe of the project: 2021–ongoing
Author(s): Pavana Reid (artist, Performance Art Bergen (PAB)), Gisela Hochuli (artist, Performance Art Network CH (PANCH)), Dr. Tabea Lurk (Mediathek/Production, HGK FHNW), Jürgen Enge (Bibliothek/Production, Basel University)
Third-party copyright owners: All material are licensed CC BY 4.0
Grantmakers, sponsors or other funding agencies: Performance Art Bergen (PAB), Mediathek HGK FHNW

Together Elsewhere

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"Together Elsewhere" is a collaborative networking project in which one performance artist from Switzerland and one from Norway perform together for 30 minutes in the virtual space of a live streaming. Before the performance, the spatial constellations, specific objects to be used and other aspects are agreed upon. As a growing resource, "Together Elsewhere" adds each month one live event which is then continued/stabilised as video document – publicly available.

Problems/questions

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  • Reference: How to properly reference artworks and in particular performing arts
  • Copyright: Clarify copyright issues in the field of performing arts (e.g. related rights)
Guidelines: 1.2.1.e. Related rights; 1.2.2.e Related rights; 1.2.2.k. Audiovisuals, theatre, dance, circus, films and multimedia
Training: Open Data and Open Access in the Area of the Performing Arts, with Beat Estermann (HKB), Baptiste De Coulon (SAPA), and Hannah Steffen (Theater Winkelwiese in Zurich), 2024.
  • Persistent identifiers and metadata: How to ensure longterm findability through cataloguing and indexing practices
Guidelines

Solutions and development

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Even if no free licenses can be granted on videos in Switzerland due to copyright law, such a license is applied in the files and displayed. In addition: the media library covers the costs for the collecting societies and is considering implementing a player that turns video on demand into video with delay so that it can continue to afford to make such content available.
Alpine Netze der Verbundenheit, HSM Basel FHNW


Title: Alpine Netze der Verbundenheit
Proposed by: HSM Basel FHNW
Disciplinary field: music
Communication support : event and blog
Type of content:
Timeframe of the project: 01.02.2020 – 31.01.2021
Author(s): Dr. Romed Aschwanden (historian, Urner Institut Kulturen der Alpen), Prof. Dr. Boris Previšić (flautist and researcher, Universität Luzern), Prof. Michel Roth (composer, Hochschule für Musik Basel/FHNW)
Third-party copyright owners:
Grantmakers, sponsors or other funding agencies: Förderprogramm Spark des Schweizerischen Nationalfonds

Alpine Netze der Verbundenheit

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The research project "Alpine Netze der Verbundenheit" focuses on the dense network of small cable cars in the Schächen valley of Uri, Switzerland is examined for its socio-cultural and communicative everyday function. Guided by Bruno Latour's actor-network theory, the project involves archival research, interviews and participant observation of operational processes. The project deliberately brings another actor into the network: artistic interventions (music performance and interactive sonification) challenge the usual usage and explore the perspectives and limits of alternative uses of this culturally and historically valuable infrastructure. Overall, this case study also contributes to linking historiographical, anthropological, and artistic research.

Problems/questions

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  • Copyright: Best practice to negotiate copyright clearance with right owners and third parties
Guidelines: 4.4.1. Copyright clearance and personal data; 9.2.1 Consent form for material subjected to copyright protection and for the collection and use of personal data
Training: Copyright and Open Access in Switzerland by Suzanna Marazza, 2023.
  • Publishers: How to raise publishers awareness about open access
Guidelines: 6.2. Negotiating for open access
  • Reuse of open data: How to enable reuse of open data
Guidelines: 3. ACCESS and (RE)USE third parties data
Training: Creative Commons and Open Science for Arts, Design and Music by Brigitte Vézina, Creative Commons International, three sessions, 2023.
  • Performing arts: Clarify copyright issues related to performing arts (e.g. related rights)
Guidelines: 1.2.1.e. Related rights; 1.2.2.e Related rights; 1.2.2.k. Audiovisuals, theatre, dance, circus, films and multimedia
Training: Open Data and Open Access in the Area of the Performing Arts, with Beat Estermann (HKB), Baptiste De Coulon (SAPA), and Hannah Steffen (Theater Winkelwiese in Zurich), 2024.

Solutions/development

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A storage solution was found for the raw data together with the FHNW School of Engineering.
Fashion as Performance, HGK Basel FHNW


Title: Fashion as Performance
Proposed by: HGK, Basel Academy of Art and Design FHNW
Disciplinary field: fashion design, fashion performance
Communication support : exhibition, event, digital publication, website, database
Type of content: performance, video/audio recording, live stream, social media content
Timeframe of the project:
Author(s):BA Fashion Design Students, Models, Marco Mastrogiacomo, Suresh Surenthiran / AVS Technique HGK
Third-party copyright owners:
Grantmakers, sponsors or other funding agencies:

Fashion as Performance

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BA Fashion Design Students and their performances / presentations are the focus of this case study that involves public streaming, exams, social media content. The event "Doing Fashion" was based on the premise that fashion becomes legible as a performative process that stages clothes on bodies in a specific space. Only through various staging strategies do clothes become fashion and signs within our culture and our communication. For fashion, performativity consists in the incessant process of constructing and deconstructing meanings. In this way, fashion represents representation itself, it only refers to the indwelling character of all signs without providing a clear referent.

Problems/questions

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  • Copyright: Clarify copyright issues when dealing with students work
  • Social media: Risks and benefits of sharing content on social media, in particular students' work
Guidelines: 6.7.1. How to deal with social media
Training: Introduzione al copyright e all'open access con un focus sui social media. Incontro dedicato agli studenti di comunicazione visiva, di Suzanna Marazza, 2023.

Solutions/development

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Due to the complex rights situation, an internal solution was found. The process is documented. The case is also so helpful for the OS-ADM project because it demonstrates the need for prior agreement and written clarification of the terms of use, especially with third-party companies
Production, archiving and publication of audiovisual materials, SUPSI/ATD


Title: Production, archiving and publication of audiovisual materials
Proposed by: SUPSI, ATD Accademia Dimitri
Disciplinary field: theatre, performing arts
Communication support : print publication, digital publication
Type of content: video/audio recording
Timeframe of the project: 2021-2024
Author(s): Demis Quadri (head of Research and Service), Susanna Lotz (head of Communication and Marketing)
Third-party copyright owners: artists, archives
Grantmakers, sponsors or other funding agencies: various funders of artistic, research and training projects

Production, archiving and publication of audiovisual materials

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Accademia Dimitri is working with increasing intensity on the production, archiving and publication of audiovisual materials for various purposes (pedagogy, archiving, analysis and promotion) and in different fields (Bachelor and Master programmes, Advanced Studies, Research and Services). A project accompanying these activities concerns the refining of processes related to the management of intellectual property, Creative Commons licences, Open Science policies, and educational and dissemination activities for students, teachers and researchers related to these issues.

Problems/questions

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  • Training: How to develop a longterm training strategy and educational offer related to copyright and open access for different target groups (e.g. students, researchers, teachers)
  • Share: How to share data for educational and promotional purposes using different platform
  • Copyright: Clarify copyright issues and open access challenges with a focus on performing arts and multimedia
Guidelines: 1.2.1.e. Related rights; 1.2.2.e Related rights; 1.2.2.k. Audiovisuals, theatre, dance, circus, films and multimedia
Training: Open Data and Open Access in the Area of the Performing Arts, with Beat Estermann (HKB), Baptiste De Coulon (SAPA), and Hannah Steffen (Theater Winkelwiese in Zurich), 2024.
  • Social Media: How to raise students' awareness of the risks fo sharing data on social media
Guidelines: 6.7.1. How to deal with social media
Training: Introduzione al copyright e all'open access con un focus sui social media. Incontro dedicato agli studenti di comunicazione visiva, di Suzanna Marazza, 2023.
Gino Severini in Switzerland: mural paintings and catholic art revival of the groupe de Saint-Luc, SUPSI


Title: Gino Severini in Switzerland: mural paintings and catholic art revival of the groupe de Saint-Luc
Proposed by: SUPSI
Disciplinary field: visual art
Communication support : research documentation and valorisation
Type of content: photographs
Timeframe of the project:
Author(s):Francesca Piqué (Institute of Materials and Constructions SUPSI - DACD - IMC), Nadim C. Scherrer (conservator, Hochschule der Künste Bern Berner Fachhochschule)
Third-party copyright owners:
Grantmakers, sponsors or other funding agencies: SNF

Gino Severini in Switzerland: mural paintings and catholic art revival of the groupe de Saint-Luc

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The research project “Gino Severini in Switzerland” studies the religious wall paintings by Gino Severini during his collaboration with the Groupe de Saint-Luc to understand Severini’s expressive intentions and the materials and painting procedures used. Through the integration of art historical and archival information with direct visual and scientific examination of Severini’s wall paintings, the project investigates the connections between the artist’s technical choices, the primary sources and the availability of new painting materials and methods.

On the occasion of a conference that required registration and the purchase of an entrance ticket, minimal and mainly for COVID reasons, a flyer of the event was produced that featured a photograph of the artist's work taken by the research team in one of the researched churches (who have all the permissions to carry out the research work). The flyer came to the attention of 'ProLitteris', i.e. the Swiss Cooperative for Literary and Art Copyrights who requested payment for the use of this image.

Problems/questions

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  • Copyright: Clarify copyright legislation and role of ProLitteris
Guidelines: 1.2.1. Copyright, an overview; 1.2.2. Copyright in Switzerland; 3.4.1. How do copyright collection societies work?
Training: The Challenges and Opportunities of Swiss Copyright Laws Related to Cultural Heritage and the Role of ProLitteris, by Noa Bacchetta, 2023; Conversation with ProLitteris, with the lawyer Noa Bacchetta and Philip Küble, ProLitteris, 2023;Copyright and Open Access in Switzerland by Suzanna Marazza, 2023.
  • Copyright: Advice on best practice related to copyright clearance
Guidelines: 4.4.1. Copyright clearance and personal data; 9.2.1 Consent form for material subjected to copyright protection and for the collection and use of personal data
EVENTI: Cultural institution and their public, SUPSI


Title: Cultural institution and their public (Le istituzioni culturali e il loro pubblico. Alla ricerca di nuove modalità di fruizione
Proposed by: SUPSI
Disciplinary field: visual art, music, theater, design
Communication support : print publication, digital publication
Type of content: text, video/audio recording
Timeframe of the project: 2021-2022
Author(s): Chiara Bernardi, Massimo Zicari, Marta Pucciarelli, Veronica Provenzalke, Cinzia Cruder, Kriza Bonaudo
Third-party copyright owners: students?
Grantmakers, sponsors or other funding agencies: SUPSI

Cultural institution and their public (Le istituzioni culturali e il loro pubblico. Alla ricerca di nuove modalità di fruizione

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This publication reflects the results of the research project EVENTI - Arts and Culture: New Ways of Producing, Enjoying and Participating - which explored the reaction of cultural institutions (orchestras, museums, and theatres) to the restrictions imposed by COVID 19.

The publication focuses specifically on new forms of relationships between cultural institutions and their audiences, and it presents 3 case studies from music, museum, and theatre institutions, to discuss about new forms of artistic experimentation triggered by the pandemic. The publication is being edited and a printed and digital version is planned. It includes a video production and possibly students’ work projects.

Problems/questions

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  • Visibility of open access publications within the publisher's website. How can a publication in OA be made more visible within the publisher's website?
  • How and where can the publication be shared so that it is accessible to an international audience?
  • Which are the major international archives and repositories where to publish research and data in OA? In which form can this step be guaranteed by the publisher?
  • How can the quality of an open access publication be guaranteed through a peer reviewed system?
  • How can multimedia material in OA be included in a digital publication? What kind of permissions are needed?
  • How can we negotiate with the publisher to ensure that the publication achieves good visibility, quality, and audience?
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