 Hello, everyone. I think we are live. I believe we are live. So, welcome to the State of Glam Wiki session and this 2021 Wikimedia. I think I can say for everyone here, from the speakers list, that we are very happy to be here presenting to you today. I am Giovanna Fontanyla, I am the program officer for the Glam and Co-Chair team at the Wikimedia Foundation. And I am just going to make a quick introduction for this session and present the speakers. But first of all, I just want to thank Andrew Lee for organizing and putting the proposal for this session in the first place. He was not able to join our presentation today because he is very busy organizing a lot of Wikimedia today and with a lot of other sessions that he is presenting and I really recommend watching his presentations as well. And also, I, sorry, I shared my screen in the wrong way. I am sorry. And just so everyone knows, we have an inter-pad and the page for the Wikimedia session, our Wikimedia session today is also filled with some slides and videos for this presentation as well. So, check it out when you can. Okay. And after me speaking right now, we will have an introduction by Fiona Romel, who is the Senior Manager for the Glam and Co-Chair team from the Wikimedia Foundation. And afterwards, we will have a presentation by Dominic. He is a long-time Wikimedean. He has been a Wikimedean residence in the National Archives and the Digital Public Library of America. And today he is going to be talking a little bit about that. And afterwards, we'll have two videos both by Wikimovements of Brazil user group. The first one by Azar Porto, who is the President and Resources of the user group. And he will be talking about the technical developments and challenges in Glam Week initiatives. And afterwards, we'll have a video by Erika Zellini, who is the Communication Manager for the user group. And she will be talking about Wikilobus Bahia. After that, we have Siobhan Richman presentation. She is in charge of or co-organizing the Wikimedians in Wellington and the Ayrdota New Zealand online meetups. And today she's going to be talking about the Glam Week initiatives in New Zealand. And after that, we'll have a presentation by Susana Nans. She's a Glam coordinator on Wikimedia Finland and Avoy Glam. And she's going to present Glam Manifesto today. And to finish up, we'll have a presentation by Fiona Romel again to close the session with an update from the Glam Culture team at the Wikimedia Foundation. After each presentation, some speakers will be available to answer your questions if you have any. And by the end of the session, we'll have a few minutes to questions and answers as well. Our session today is 90 minutes. So please enjoy. And now please, Fiona, welcome if you can present now. Thank you. Wonderful. Thank you so much for that introduction, Giovanna. I have some slides, but they're not necessary if we can't see them right now. Okay. So I just wanted to really briefly kick off with a, to define a term for anyone who is new to it. So we talk about Glam wiki here. I'm sure you understand the wiki part. Glam stands for galleries, libraries, archives and museums. And it's an acronym that centres institutional partnerships. Such partnerships have been incredibly valuable to our movement. They have brought in millions of high quality evocative images for use across our projects. And images from these cultural partners don't just illustrate articles about culture. They are used to illustrate a wide range of Wikipedia articles such as biographies, historic events and broader concepts. Our collaborations with professional networks of librarians to add sources via the twice annual one live one ref campaign is improving the reliability of Wikipedia articles. And increasingly we see libraries, museums and archives connecting their specialised knowledge to Wikimedia's common knowledge via wiki data, putting that platform at the centre of linked open data for cultural heritage. But libraries and cultural institutions are just one type of actor within the wider culture and heritage field. Institutions have their own gaps and biases which they are increasingly acknowledging. They therefore offer an incomplete picture of culture and heritage. A more inclusive view includes photo competitions like wiki loves monuments and wiki loves folklore, a recent project to add Nigerian festivals to wiki data and videos documenting indigenous languages. So to get the complete picture of the state of Glam wiki in 2021 we encourage you to attend or catch up on the other wiki mania sessions about culture and heritage. Here are just some of them. This list is also available with links in the etherpad for this session. Thank you. I would now like to hand over to our first speaker Dominic. Thank you. I'm just getting my screen sharing set up. Hopefully you're all seeing that. So yeah, as as Giovanna said, I'm at the Digital Public Library of America. I've been a data fellow at DPLA since the start of 2019. And once my slides get started I want to just start out by explaining what that is. It's just spinning for me. But I'll just get started. So DPLA is essentially a national aggregator for cultural heritage metadata in the United States. Here we go. DPLA consists of about 44 and a half million metadata records currently. And it brings together 48 regional or content hubs which covers 4,000 institutions in the United States. So the way DPLA works is that it's not just all these thousands of institutions contributing directly to DPLA, but that there's a lots of intermediary smaller aggregators that feed into DPLA. So what it is in practice is actually a lot of different things. It's a search portal on the web. You can go to dp.la and search. It's an API that provides access to all of the metadata. There's also curated content online exhibitions. DPLA also runs eBooks exchange in the United States for public libraries. And DPLA has its annual conference, DPLA FES, and just generally runs a lot of convenings of the library and cultural heritage profession in the United States. Another thing that's kind of harder to define and good luck translating this, but it's a we call it kind of a digital library skunkworks, which is to say it's kind of an experimental lab for innovation in the library space and does a lot of kind of projects like that. What DPLA is not just to be clear, it's not something that has really like centralized control over all these institutions. All the hubs do things in their own way. DPLA is not a government agency, and it's not, even though it has members like the Smithsonian or the National Archives in the United States, it's not a large organization. It's actually currently staff of nine, including me, which is to say it's not, it's compared a lot to Europeana if you're familiar with Europeana, but it's really not, it's not comparable in a lot of ways. So the project I want to talk about began in the end of 2019, and the kind of big idea is we wanted to develop a single pipeline for media files to Wikimedia Commons and Wikipedia. And when we talk about a single pipeline, we mean for all of cultural heritage in the United States. So solving, it's addressing that problem of every institution that wants to contribute to Wikimedia Commons, especially in bulk with their digitized materials, needs to figure out kind of the both technical way of doing that and how to edit. So this proposal actually grew out of the Structure Data on Commons project in a way, because it's funded by the same organization, the Sloan Foundation. Catherine Maher was or is still on the DPLA board, and so all people were kind of in the room at the same time. And the goal in large part was also to have a large cultural institution contributing media to Wikimedia Commons in order to help provide sort of like the impact of what had been developed with the Structure Data on Commons project. So one full-time Wikipedia, that's me was funded by the project, and it's supported, my work is also supported by the DPLA tech team. So three main goals. One is to for our members, our participating institutions, to increase access to their images, their records. And then also for DPLA, you know, there is no national chapter, Wikimedia chapter in the United States. So for DPLA actually, it's kind of stepping in and providing a support structure to cultural institutions, because they don't have anyone else really to go to outside of DC and New York. And then of course the other important goal is actually improving the quality or coverage within Wikimedia content. So technical details, what we've developed, this is kind of the workflow. First step is just, you know, institutions on their own digitize and describe their objects, and they have to meet a certain data requirements in order to participate in the Wikimedia project. That means they're only eligible items that are open access and that they've properly marked the copyright and things like that are going to be uploaded. So DPLA harvests the metadata from its partners and kind of does its normal enrichment to aggregate this metadata. And then from there, we run a bot, DPLA bot, written with PiWikibot, and files from institutions that are participating and are eligible are uploaded to Wikimedia Commons. And the last step is that DPLA actually offers the training to all staff whose files are uploaded to Wikimedia Commons and how to edit Wikipedia and is providing them support and encouragement on their own due to the editorial work of putting images in articles. So that's in a nutshell. This is what it looks like here as an example. One of our partners, the Boston Public Library, this is a category on Wikimedia Commons. And of course, the end, the biggest end goal is for images from these institutions to make them into Wikipedia articles. So here's an example. So far, we have 10 different partners contributing. And they're from all over the country. So Georgia, Ohio, digital commonwealth means Massachusetts, North Carolina, and then also the National Archives being national in scope. So some of our outcomes so far, we've uploaded 2.4 million files to Wikimedia Commons since the start of 2020. So that's the largest contribution to Wikimedia Commons by any single entity. Actually, I think we became the largest around a million uploads and we've doubled it since then. So what we've done is really show the possible success at a large scale that especially an aggregator like DPLA can have. Those uploads have seen 45 million page views in that time. And we have images in over 2,000 pages across all the Wikimedia projects. Those 10 hubs, I should say, represent 250 institutions. I've in the last year and a half done more than 50 different outreach and training meetings with cultural institutions or groups around the country. We've had, I've participated in five webinars with over 800 attendees. And also we've seen a lot of benefits in terms of just kind of side effects to the quality or coverage of DPLA's data in general. So over 20 million items in DPLA have had additional right statements added to them that didn't before in order to participate in our project. And 25 million which is more than half DPLA's items have had their institutions provide media URLs for the first time. Again, we've had a lot of improvements to our data quality because participating in Wikimedia and having this impact is also a good incentive for our institutions to work on remediating or improving their metadata. So what does this project look like now? Our funding wrapped up in 2020 from the Sloan Foundation. The project is not over yet. In fact, we see it as now as a core service that DPLA is offering to its members. So the DPLA tech team is continuing to operate this pipeline to Wikimedia Commons and continuously uploads new materials as new partners join or partners contribute new content. So the institutions in the United States can continue to come to DPLA and join this project and contribute materials to Wikimedia Commons through DPLA. And also for especially for partners or for institutions that are not yet part of DPLA, we see it as that DPLA is the on-ramp for any institution to get into Wikimedia Commons in a way that's easier and more accessible than what existed before. So we see DPLA as kind of the on-ramp for those institutions that are interested in how to join Wikimedia, just connecting with DPLA is their best way. And another future project or currently ongoing project now is DPLA is also currently being funded by the Wikimedia Foundation for a project specifically focusing on structured data on commons and data synchronization. So we're going to be with our two and a half million and increasing number of uploads. We're going to be adding and maintaining many millions more of structured data statements to all of these and we've already begun doing a lot of work on that. And as I said, the funding from the Sloan Foundation ended in the end of 2020, but we are continuing to seek more long-term funding for the program. So I'll wrap up there. We do have a landing page on DPLA, on DPLA's website. If you want to learn more or contact us and then also if you want to see our category in Wikimedia Commons of all the things we've uploaded, it's just called Media Contributed by the Digital Public Library of America. Dominic, we have some questions in the chat here if you want to have a look at them. Sure, yeah. So can we request the box of those specific images? Yes and no. So right now every partner so far that's participated, we've uploaded everything that's eligible from that institution, aside from the National Archives, which has essentially an infinite amount of content. So we can't do that in one batch. So the main thing is if an institution, the institutions have to opt in. We're not uploading everything from every institution in DPLA. So that's the what causes something to be uploaded. If an institution wants to participate, then everything that's eligible from that institution can become uploaded. And we're working to do outreach to our members and get by in. But we're also happy if anyone works with an institution or knows an institution if they want to connect them with us and we can go from there too. Another question, how do you get the pictures categorized and described? Good question. So we are currently, we're using the metadata that's been harvested from our partners. And in some ways, there's a little bit of data loss there because we are an aggregator. So we have access to essentially all of the common fields that are common across all of the institutions that they contribute. So the descriptions are not necessarily as full as they could be if an institution was doing it all themselves. And the, we're really not uploading topical categories right now. We're uploading categories based on the images and source, the institution. Because we haven't, there isn't really a good way to do that at the scale we're talking about and what's the diverse amount of institutions. So that is definitely a way that we are asking the Wikimedia community to help is if you're interested to help add topical categories to the uploads. Okay, am I out of time? I'll let the next person go. I think we have one question left and I can answer that maybe by text somewhere. Thanks so much. Okay, now I will present both two videos actually. The first one by Edo Porto from the Wikimomento Brasil user group. He's the researchers and product of the user group and I will just play it. It's useful for your partnerships as well. So for a bigger context, the partnership between Wikimomento Brasil and the Brazilian group started in 2017. And as of today, we have uploaded around 30,000 media files to Wikimedia Commons and have created about 30,000 items in 2020. We've created a new project called Wikimedia Initiative, which is a project that is going to be a big part of Wikimedia's development and development processes to improve the instruction of the user and help it internet all of the knowledge, especially Wikimedia. It's established as a digital community to act in production, circulation, outreach and educational cooperation of content related to the institution's collections and research of the user Twitter. Also, we focused on innovation and development of products and technological processes probably related to digital humanities and operational operation in the scientific web. I want to talk about what I think is the next and every big partnership that is data-oriented. In this diagram, each block represents a step in this data-oriented process. The first branch of the process is when the institution dominates their data and images to the Wikimedia projects, usually by a partnership. It doesn't need to follow this path, but in our experience in the projects that we have, this seems to be the bottom line. What it was and it still is a challenge is how the information modified or added by the volunteers of the Wikimedia community travels back into the original source. For that, we built this proposal in which we learned from other knowing experiences like the Met and the Swedish National Heritage Board to guide the implementation of a methodology to in fact make the ground free. The reason anyone would want to do this is pretty obvious Wikimedians and Glenn visitors can and do improve information they are interested about throughout editables, video contents, campaigns, workshops and even organically. So in 2020 and 2021, we developed alongside with other activities in this project a series of metadata applications called Wikimedia dupiranga with the goal of provide a user-friendly interface to users improve the information provided by the museum. Not only that, but to help the research groups of the museum at answers for their questions. We had a few challenges that are divided into research problems related to the final questions and for that we several times with the research team to discuss the applications into technical challenges like learn how to build an app on to forge. Thankfully there are some tutorials available and they always present outreach and for that we tested the apps in some of our events and we addressed them as important. Today we have six applications each one varying in purpose like that in trees in a photo describing clothes of people depicted in a artwork identifying the brands of objects of the collections identify ornaments of those objects contribute images of similar objects and describe its usage and my personal favorite identify heraldry elements of both of arms in the collection the objects of the collection. Thank you. Okay so this was the first video I'm sorry if you have sound problems we will share the link in the internet as well if someone wants to watch the video again with a better audio okay we have a second video now is by Erica Zellini she's the communications manager for the week moment of Brazil here's a group and I would just share it as well now just a second I hope the audio will be better this time. We can move away to Brazil and I work very close hi everyone hope you're having a good time with this week mania we certainly have a lot to reflect and celebrate in our community and I'm grateful that these conferences allowing us to safely gather this year my name is Erica Zellini I serve as communications manager at week moment of Brazil and I work very closely with our community and all projects that we develop including glam partnerships and just adding to what and they're just presented to us we can say that week moment of Brazil has reached a high level of international recognition and glamour creative and innovative use of media platforms especially when it comes to putting data at the center of our processes with institutions our golden case is definitely the partnership with the police the museum for which we develop integrated digital dissemination activities open technologies as ever just presented to us and those technologies are quite pioneered we are very proud of them of course and this digital dissemination leap of this particular museum that has been closed for almost 10 years now is what we would expect to approximate the general public and the institution in 2021 right but I would like to highlight that this isn't the reality of most cultural institutions here so although the police the museum has a lot less resources than same level institutions across the global north it is a very wealthy one in comparison to the average glam institution in brazil to briefly picture the scenario according to a technological maturity research with museums under the federal jurisdiction the majority scored very poorly when it comes to basic technical infrastructure which is a parameter that includes internet access and collections digitization and as we are here in state of glam 2021 panel I think it's important to highlight not only the realities that prevent many institutions from digitally joining with media but also the efforts that are being done to make them visible online in this low resource context so for us it is crucial to face our local inequalities and start spreading resources throughout our territory to empower institutions and volunteers on sharing collections especially considering that brazil is a continental country with so much history and cultural diversity so today I'm proud to share with the community this bold initiative called wiki loves by yeah that we are leading here in brazil in order to address local content gaps and to reach out to cultural institutions in the margins of our country by yeah is one of the largest and poorest states in brazil ranking in twenty two out of twenty six states in terms of human development indicators but it is very important culturally historically and socially by yeah alone is bigger than Spain and it is a territory of great natural and cultural diversity it was actually the capital of brazil some point in our history but it is a content desert on wiki media which brings a lot of reflection on how we are dealing with the presence of our heritage on the internet and for example we notice that there is a huge gap on how cities of Bahia are represented on wiki media columns since slightly less than half of the images there are depicting its capital called Salvador the other half of the images mostly depicts touristic sites half of the cities have only less than five images there and 25 percent of them don't have a single picture on wiki media columns it is alarming how invisible they are even though they carry out such an important part of our culture and that's why we started the wiki labs by your project we want to address gaps in how the state is representing our wiki media while we engage local wiki medians and cultural and educational institutions to act locally and this is Brazil a continental country and a considerable part of wiki movement brazil team is located in the southeast region which is the rich part of the country and by here is this huge state in the northeast part and we understand that the land partnerships are key for adding local knowledge on wiki media and earlier this year we added on wiki data all the land institutions in the state of Bahia and you can see in this map that yes they exist and that they are spread throughout the entire state and again Bahia is larger than Spain so you can imagine the wide diversity of landscapes and cultural manifestations in this area so this all means that there's a lot of potential in this region for connecting with local institutions and when addressing this region we took a goal to diversify and empower land partners so that to be in the community is not only for the large institutions this is very important for us and we try to reach out to them but we had a very low response rate let me also remind you that we are still living through a pandemic here in brazil and that internet access in Bahia is not as widespread as in other states for example Bahia was the single state in brazil that didn't have online classes in 2020 due to the lack of infrastructure and the situation hasn't improved much since which brings more challenges to our work that initially was planned to also engage students so what are we doing then we develop a glam tutorial resource on outreach dashboard so that glam institutions in any context are able to connect and contribute to the open glam community as a brazilian affiliate we obviously want to support our glam in brazil but at the same time we have to figure out how not to make them dependent on us and spread capacity and this glam tutorial includes three modules one is an introduction to the weak union ecosystem so they are aware of its potential and what are our core values then they can learn how to set up a glam on wiki and finally how to start uploading their collections there and in this tutorial we talk a lot about weak data and how to disseminate the collections of it we are also reaching out to cultural institutions and working on some partnerships and at the start of the project we run some very interesting queries to better understand the lack of content about Bahia on wiki which is very important to visualize specifically what kind of content is not there and what kind of gaps for biases are in what we already have in them and this is key for planning how to engage people through projects which is linked to the other action point here we are working on several dissemination activities to engage our local community on improving content about Bahia and also to bring new volunteer editors from Bahia and some institutions as well we launched a contest on in which volunteers started to edit thousands of created entries on wikipedia related to the Bahia state until now they have contributed to more than 800 articles and that's pretty impressive and we are also running some online editor tons in which we invite local specialists or revenues on the events team and offer a tutorial for our participants and then we jump to the editing activity and we will also launch a photo contest so people can share images of their cities in the Bahia state here's a banner for the contest highlighting one of the many cultural expressions in Bahia and to wrap things up I would say that we are just scratching the surface so far and there's a lot of local challenges that we need to figure out and our challenge here remains how do we that are in a marginalized context can support regions that are even more marginalized in Brazil but if by the end of the day we can engage a few institutions and volunteers in Bahia to collaborate with wikipedia and share their local heritage in this open glam ecosystem all the struggle will be worth it any and every file and edit counts so thank you all for watching this and I'm excited to join my colleagues for a discussion on the state of glad in 2021 hey everyone I see that there is one question here so someone asks how do you obtain reliable and verifiable references to backup your work on these communities so we were working on a lot of dissemination activities and we always provide them tutorials on how to contribute to wikipedia to wikipedia commons etc so we always talk a lot about how do you insert reliable references in there and we have a very active community verifying their working there so for example on the wiki contest that we are doing on wikipedia each contribution is verified by our committee that is working on this wiki contest so so the participants only obtain points in the contest if they are in line with wikipedia rules so this is how we are doing that uh there's one question for Eder here do you manage the conflicts between the official versions of the history program in a manner of words I don't know how to answer the question actually so I'll make a response and I'll answer by text I think just if that's okay yes of course I think it's a big question as well so it's okay so I would just ask for Shogun Lichman to present now she's going to be talking about the Glomwick initiatives in New Zealand so thank you Shogun hi thanks for having me hopefully you can hear me I'm just gonna everyone yep great okay lovely I'm Shavon Lichman also known as user ambrosia 10 and this is this presentation is my personal view of the state of glam wiki in New Zealand now I'm aiming to give a quick overview of the recent history of glam engagement by the New Zealand wikipedia community and then I want to delve into how COVID has affected the glam wiki movement here I'm aiming to outline some of the initiatives that have taken place and the progress that has been made by glam themselves and the editing community during the pandemic and finally I want to conclude with what I regard as the main challenges faced by the New Zealand editing community when engaging with glam now New Zealand has a geographically dispersed editing community active editors are spread all over the country and historically tended to edit relatively independently and as you can see from this list of meetups New Zealand editors only really started gathering regularly from around 2018 and as will be explained later these regular meetups have had a really positive effect on engagement with glam but the initial project I want to talk to you about today helped really help develop the glam wiki movement in New Zealand it was a wikipedia project run by the Duff Art Museum in around 2015 and it was a year-long project initiated by the museum itself aiming to improve the coverage of New Zealand craft artists in English wikipedia and I've put a link in the slides to a youtube video explaining more about that project it stars Courtney Johnson the director of the DAW as she was then she's now the CEO of Te Papa our national museum of New Zealand and she presented this project to the national digital forum and that's New Zealand glam digital conference now this project was really influential it was the first time a New Zealand glam had undertaken a significant project with wikipedia and it had an additional benefit as several of our current and most prolific editors myself included got this start were really positively influenced by this project and its editors on and of course it also raised the awareness of all things wiki in the glam sector now the next big influence in the glam wiki movement in New Zealand was Mike Dickerson user asville he obtained funding from the wikipedia foundation for his wikipedia at large role he roamed New Zealand from July 2018 to June 2019 having residences at numerous glam he helped them start a variety of wiki projects and while doing so really increased the number of wiki editors joining our community and one of the most impactful results of Mike's efforts is that the editing community itself that began taking steps to form an active user group and this user group was recognized by the wikipedia foundation in December of 2019 this really assisted glam engagement with editors in 2020 the Auckland Museum commissioned Mike to produce the Auckland Museum wikipedia strategy and this document was converted into a work plan that has enabled the Auckland Museum to take a strategic approach to its engagement with wikipedia wiki common and wiki data and in conjunction with Auckland Museum's open by default closed by exception reuse policy this has resulted in the Auckland Museum in my eyes becoming the leader of the New Zealand glam sector modeling how to engage with the wiki community Auckland Museum shares its documentation openly and also reports back to the wider glam community on its efforts and this supports the other glam in the other glam institutions in New Zealand to be bold and to engage with the wiki community now equally important are the changes that have actually taken place in the editing community here in New Zealand the COVID-19 epidemic has had a significant influence on New Zealand's wiki editing community when New Zealand went into its first extensive level four lockdown in March 2020 it happened really quickly we went from relative normality to everyone staying at home in space of about four days many people including glam workers and volunteers as well as wikipedia editors themselves all were working from home and many folk had to learn to conduct their work lives remotely and online importantly for New Zealand for the New Zealand wiki community this included learning how to use video communication platforms like zoom and gypsy now my opinion the COVID pandemic and especially that first lockdown is one of if not the best thing ever to happen to the wiki movement in New Zealand it forced a lot of people all at once to get digitally literate about winging online and online meetings it pushed many glam to consider how their employees and volunteers could use digital platforms including wiki projects as a way to contribute while at home an example of this is that the National Library of New Zealand encouraged its staff and volunteers to assist with the Alexander Turnbull Library mix and match data set in wiki data now the lockdown also had the effect of pushing physical um the physical Wellington wikipedia meetup organized by my sister Victoria myself online and because we were the only New Zealand wiki group holding online meetings during lockdown we were really open and inclusive about who could attend as a result folks from all over New Zealand not just Wellington and also from Australia regularly attended our online meetings the online online meetings themselves had a slow on effect because in august of 2020 the community were forced to gain skills in how to run virtual editors on the relationship built during those online meetings played a part in ensuring that the virtual editors themselves were successful as an example user paikori organized the play market editors on to improve wiki coverage of New Zealand play rock she and a play rock employee were at the institution's library providing a system and research content to remote editors she ran a really successful editors on at a time when physical attendance was prohibited and this success gave user paikori and the confidence to apply for wiki wiki foundation funding for her performing arts projects now the online meetups were so popular that they continued after we came out of lockdown so victoria and i created a once-a-month Aotearoa New Zealand online meetup and this has helped ensure that the momentum gained by the community when forming the Aotearoa New Zealand user group has continued it gave us a core group of folks that to help engage with Glam and that could be importantly could be contacted by Glam wanting to explore the potential of wiki engagement and the attendance of our Australian colleagues in the virtual space has under surprisingly resulted in more collaboration between Australian and New Zealand editors it helped create a bigger pool of experienced editors to assist with online editors on we also started collaborations on campaign for example wikimedia australia and the New Zealand Aotearoa wikimedia user group jointly ran a successful series of online drop-in sessions for the recent one-lib one red campaign online meetings have also helped new zealand the union zealand user group organized three in-person wiki conference with this year the second event in particular was Glam focused because it was hosted at the Auckland Museum and attended by several of their staff as well as staff from the National Library of New Zealand and the Auckland Art Gallery as the editing community grew and gained confidence also the number of editors prepared to undertake outreach activities with Glam also grew so for example user doctrine need ran a three-hour introductory workshop on wiki data for the humanities librarians at Otago University and user Muriel Mary not only helped run the Christchurch in-person wiki meet-up she organized the Christchurch Art Gallery Art and Feminism Editors Month Glam's were also showing signs of engaging with the wiki movement independent of the local editing community for example Te Papa our National Museum is trialing a basic form of round-tripping data on their online catalog system they're adding links to the appropriate wiki data item or the appropriate Wikipedia article but there are still ongoing challenges one of the main ones for Glam wiki here in New Zealand is increasing the number of editors contributing to the movement there is just so much to do and not enough editors growing the editing community in the virtual environment is challenging however we've been really fortunate in New Zealand as for the majority of 2020 2021 we've been able to hold in-person events as a community we've also been looking for opportunities to upscale and experience editors for example myself to Victoria organized an extremely successful carpentries workshop on openless lines several active wiki editors attended and have been using this tool for the wiki data ever seen ever since we also need to improve the knowledge and understanding within New Zealand Glam about the various wiki projects there's still a need to educate Glam employees on how our projects interrelate and how our community works one of the ways we're attending to address this is by attending the in-person Glam conferences using Muriel Mary has put in a proposal to present at the 2021 National Digital Forum that's the New Zealand Glam digital conference and she'll be explaining how the wiki community here engages with different Glam and also with Glam content but despite these ongoing challenges and in conclusion I really believe that the wiki Glam wiki movement here in New Zealand has never been better and I look forward to seeing what happens next thank you thank you Shoban um I just want to ask Suzanna to present mass next if it's possible Suzanna have you shared your screen read thank you so welcome to the presentation thank you I will first find my slides so um I'm going to present my little ideas in a as a little manifesto I'm Suzanna Ones from Aboinglam Finland and I'm going to talk about our recent activities in my my little manifesto that you saw in the previous slide already the first thesis is to encourage exploratory collaboration between all actors involved in making cultural heritage openly accessible. Glam wiki has traditionally been concerned with making open data and content held by an organization available on wiki media projects. Open Glam has focused more broadly on questions of accessibility and advocacy for some of you are not familiar with Open Glam it started out as a network of activists and Glam professionals promoting open access to cultural heritage some 10 years back coordinated by the open knowledge foundation. Creative Commons picked up the torch a few years ago and started the Open Glam platform and runs a five-year Open Glam project from this year on. I myself I work at wiki media Finland where we have set up a collaborative group between Open Knowledge Finland Creative Commons Finland and wiki media Finland on Glam activities as Aboinglam. Aboinglam has worked to open up cultural heritage in Finland since 2012 and this was a way to combine the efforts in a small country. We hope this can become a good model for joining forces in promoting open access to cultural heritage and wiki media projects as a vehicle of digital transformation for cultural heritage institutions and projects. So currently we work on an international hack for Open Glam cultural heritage hackathon which is also a way to advance these goals. The event takes place from 20 to 24 September at the Creative Commons Global Summit. It invites Glam's communities, creators of digital media, activists and volunteers as well as tool and platform creators to work together. There will be a session about it on Monday. Please join. An important part of this ethos of hack for Open Glam is to bring the capabilities of coding to non-developers. Glam's and the wiki medians working with them could more actively participate in contributing to the open ecosystem if the tools were easier to use, more accessible and modifiable for each use case. In the last wiki data hackathon a group of wiki medians contributed to the pause ecosystem on wiki media cloud services which for example made Open Refine available to use online for anyone with a wiki media account. Secondly I want to repeat that the majority of the world's knowledge is outside wiki media projects. Wiki media platforms are valuable for making cultural heritage projects sustainable and connected. There are challenges however in including the sum of all human knowledge into wiki media projects. Knowledge equity is the overarching theme of hack for Open Glam as well. The projects are highlighting gaps in participation and in representation of individuals, communities and cultures. We also encourage and invite projects that address decolonization especially of glam collections. And as a reference to projects that we did this year, Open Glam has organized online discussions and in February we talked about cultural restitution with Mouton Posup and Fawaz Tairu from wiki media and Benin, Andrea Wallace from the University of Exeter, Brigitte Vesna from Creative Commons and Heiki Kastema from wiki media Finland. The modalities of the sources and content also lead to gaps. Oral knowledge is a well recognized black hole in wiki media projects. Unpublished sources cover many less well known topics. Obsolute technology leads to unaccessible cultural heritage and even then the materials need to be digitized, copyright and the lack of open licensing narrows down further what can be published. This image here is from Alexandre Aholavalo collection, a topic of one of our Open Glam discussions earlier this year. They wish to open the collection of this less known Finnish artist using wiki media projects but the archive processes need to be solved as well. And finally if a small heritage project overcomes all these difficulties it faces the barrier of wiki media conventions of notability and no original research. The other option is to go around some of the limitations and connect to the external resources of the other option is to go around some of the limitations and connect to the external resources instead of including their information into the wiki media projects. Ideally we can configure different platforms to read from and feed into the wiki media info sphere and to allow the projects to define their own scope and barriers. Wikibase has been chosen by several archival projects as a platform for storing information and producing linked data from it. It will be interesting to communicate between such projects, align data models, features and functionalities in order to connect between them and wiki media. Also other low threshold archive solutions as well as projects without one are seeking collaboration attack for Open Glam. This image here shows the wiki documentary project displaying the topic of the Dagbani language in the Dagbani language. And actually for your information Dagbani language is a very very fresh wiki media. And my final thesis is that we need to change in order for the majority of the information to enter the wiki sphere. Contributors from underrepresented communities face difficulties on wiki media projects. Their contributions are not valued and their knowledge is not compatible. It will be important to ensure that underrepresented communities can create value for themselves by contributing to the projects. Wikimedia must not perpetuate colonial practices in extracting information from the communities. While encouraging underrepresented communities to contribute we must craft practices to protect that information from exploitation. Being open is not the only value. We must look at the whole picture. Thank you. Thank you Susanna for such an enlightening presentation. I think it's very important what you said right now. And thank you for that. And Fiona if you can start. Thank you. Yes thank you. So hello again. I'm Fiona Romeo and I'm part of the Glam and Culture team. A small and relatively new team within the product department at the Wikimedia Foundation. I work alongside Sudeep Gill and Giovanna Fontanelli who has been hosting this session today. The Glam and Culture programme aims to grow and sustain participation in the Wikimedia movement by Glam institutions, professionals and volunteers in order to share high quality content, address knowledge gaps, reach new readers and grow the contributor base. So as I said in my introduction to the Glam and Culture session as a whole the movement's partnerships with libraries and cultural institutions have brought in millions of high quality, evocative images for use across our projects. We estimate that content partnerships with these institutions combined with the Wikilove's photo competitions would account for at least 10% of the total images on Wikimedia Commons. And these images don't just illustrate articles about culture as valuable as that would be in itself. They are used to illustrate a range of topics in Wikipedia such as biographies, historic events, political figures, cities, films, scientists, musical instruments, mythology and even broader concepts like love or play. We know that well-captioned and relevant images actually improve the readability and scannability of Wikipedia articles and they can also be used to address content gaps and underrepresentation on our platforms. From the other side by contributing to Wikimedia projects, cultural institutions or Glam's reach a vast global audience. The graph on this slide was produced by the Metropolitan Museum of Art to compare views of collection pages on their own website with those on Wikipedia articles in all languages. In most cases they were achieving more views for the images that had been incorporated in Wikipedia. But it's actually not only large museums like the Met that have international brands that can achieve this visibility. Each month a few hundred image files that were contributed by the Museum of Veterinary Anatomy in Sao Paulo attract millions of page views. And when the Smithsonian Institution shared images of women as part of their American Women's History Initiative they found that some of the most viewed images were of women of color such as Sojourner Truth, a Chippewa Widow and Josephine Baker. And so here you see that there really is an appetite for content that addresses gaps and underrepresentation on our projects. Wikimedia projects also importantly for those institutions put Glam images and information into new contexts making it relevant and accessible to people who aren't specialist researchers or even museum goers. Glam content on our projects is used to meet the everyday information needs of people accessing the information on Wikipedia in search engines and increasingly via voice assistance. One of the most inspiring Glam projects this year was the digitization of more than 3,000 palm leaf manuscripts to preserve Bali's culture and literary heritage but also to revive the Balinese script online leading to a new language wiki source. But high quality images contributed to commons aren't always easy to find and reuse. One of our big partners recently shared that actually fewer than 5% of the images they've contributed to the commons have been reused on Wikipedia. Now they still see a huge increase in global reach and views just from that 5% but it shows that there is a lot of unrealized potential. Images that are yet to be used and we know that our communities have had a similar realization. The Wikipedia pages wanting photos campaign that I know many of you are aware of and have been involved in is really trying to address that challenge for images that have been contributed via the wiki loves campaigns. So over the next year our team's emphasis is really shifting to the reuse of images. So of course we still want institutions open licensing their content making big contributions to commons but what we want to focus on is how we make sure that the images that Glam's contribute are actually easily discoverable and end up being reused on projects like Wikipedia and I'm pleased to say that several product teams at the foundation are working hard to improve image discovery and reuse on wiki media projects so two fairly recent releases show the potential of these developments for libraries and cultural institutions. The first is the new media search on wiki media commons which was developed by the structured data across wiki media team and the second is a proof of concept image suggestions API by the platform engineering team. So media search is an image focus interface that makes it easier to find what you're looking for on wiki media commons. Most importantly the search results are language agnostic so given a search term like the zone of the Dutch for some spot media search won't just return the one file on commons that uses that exact language it will search wiki data for relevant entities and then find all files with that term and any of its aliases or translations. For this example the number of images returned increased from one file to more than 600 files. The image suggestion API is a service that will generate a list of unillustrated articles for any language version of wiki media and then suggest up to 10 images that can be placed in those articles. The API will eventually be powering a planned add an image structured task for newcomers on wiki media but could also be used by our communities to drive image reuse campaigns such as the wiki pdp pages wanting photos campaign that are already underway. The foundation is also launching some product pilots in the next fiscal year that will test new ways of attracting new contributors in underrepresented countries. One of the pilots will be a more image led format for telling stories but to make sure that more images are available for these product developments we have to continue working with our GLAM partners and also with our communities to use structured data to describe images. Good image descriptions in the form of depicts and captions make images more discoverable by search and suggested image features and also make our projects more accessible to readers. I was interested to see that when Dominic was presenting about DPLA earlier there were a number of comments about how the content is being organized and how it's being described so that it actually can be found and used by communities. We've been doing some work to understand the state of image description practices now in the movement. We recently analyzed a sample of 3,000 alt text fields from the English language wiki pdp to see how often they were added and what sort of descriptions people were writing and we found that actually only 10% had some form of alt text so 10% of images on English language wikipedia in our sample had some version of alt text, some text string that was made available there. Actually only 5% of the files had alt text that could be said to follow the wikipedia manual of style and 3% had alt text that I classified as good or good enough. We have really strong signals that people want to know more about the images they see on wikipedia pages. The foundation's own research team found that there is a 10x interaction with images versus sources on articles so the average page specific click-through rate for an image in an article is 3%. So we know that people want to know more about the images that are there and the description will make them more discoverable. However we also know from user research as part of the add an image task that newcomers actually find it really challenging to write good captions for images. They're not necessarily presented with enough metadata or context about the image or they don't have sort of confidence and experience of describing images. And actually in a recent design research project looking at verifiability our design research team interviewed 17 experienced wikipedians in English, German, Korean and BASC languages to understand what they needed to improve their article research. And one of their wishes actually was that we would have more standards for using images on wikipedia. So even very experienced wikipedians didn't feel so confident about how images should be worked with. So we clearly need more consistent image description practices to make our images more discoverable and accessible. So one of our big areas of focus over the next year is to work with GLAMs and affiliates to develop a new type of program that would support this image description. And actually museums and galleries are the perfect collaborators for this kind of work because they've been educating visitors in how to look at and describe images for hundreds of years. Finally over the next year we're going to be mentoring technical projects by OpenRefine and DPLA that will enable institutions to independently upload image content at scale with the kind of structured data I've been talking about. So depicts and image descriptions as well. And if you are interested in any of this I would like to end this talk with an invitation for you to join us in another session later today which will be led by Giovanna where we will talk more about using structured data to make images more discoverable. So that session is structured data on Commons today and tomorrow and there's a link and further information about that in the etherpad. Thank you. Thank you Fiona. So we were very worried about the time for this session actually because we had a lot of speakers but we ended up finishing earlier so we have time for questions and we have some questions that we didn't answer yet. There is one for Susana if you want to start. Okay thank you. I will read the question. Many underrepresented communities have very few educated population and few publications on them. How do we accommodate such a group in Wikipedia? Thank you for the question. I think this is a very important one and first maybe I would wrap it up by saying it's a long-term project. With working with small communities, underrepresented communities, they do have very few people and from my experience with the Sami community they have their hands full with the tasks that relate to their culture already and finding the incentive to work with Wikimedia projects is not necessarily evident. So I think there are several ways to go forward and I think just thinking about this long-term collaboration is the first and foremost and then be more engaged. Start working collaboratively over a long time together with them so that the initiative eventually comes from them and also I was thinking that yeah and also if you there are things that you can do you can do statistics or make the services of Wikimedia better for them, make Wikimedia serve them better rather than try to get their data on Wikimedia projects and well but yes and you may do more harm if you try to tamper with the culture. If you don't know the culture, you don't know the language, if you start working on that without the knowledge, without the insight of the culture I don't think you should do it. So work slowly and wait for the right things to happen. Yeah my short answer. Thanks. I think we have one question for Fiona and some that Dominic hasn't answered before because of the time issue which one of you wants to answer now? I'm happy to jump in. So there was a really good question here about the percentage of images from GLAMs that have ended up as featured pictures or similar. I don't have that information. I think it would be a really interesting thing to find out and actually a similar question came up when the Wikiluvs Africa winning images were announced yesterday. Someone asked do those winning images automatically become like featured pictures or quality images and actually that doesn't necessarily happen in the campaign. So I think there is an interesting thing to think about there. We're also planning at some point over the next year to start having like looking into and having more conversations about the commoners who kind of curate common. So looking at those categories, how those decisions are made, how the homepage is edited and just understanding the sort of quality considerations that the community are sort of engaging in when they do that because I think it's something my team doesn't know enough about and we want to look into. So I think that's a super interesting question. Thank you. I can answer some of the questions to you that I got. Just a quick one. There was a question about how when I was explaining DPLA, how would it house a public library, not a government agency just to maybe clarify what I said quickly. So DPLA is essentially a consortium. So it's a it's a nonprofit, non-governmental organization and has members from across the cultural heritage sector that are public libraries, academic institutions, museums, archives, so public and private nonprofit institutions. And yeah, like Fiona said, a lot of the questions that I was getting were around how we describe and categorize and what can media commons especially with the at the scale that we're operating in. And the honest answer is it's not great. And that's and we know that's the biggest challenge. And so essentially what we're dealing with is that DPLA has aggregated metadata that's millions of records from thousands of institutions. And like I said, it's not a very centralized organization. It's only a small staff and we're essentially at the mercy of the hubs and the institutions that we are harvesting the data from in terms of their data quality and standardization. And in fact, the only sort of topical information that we have is there's a subject field in DPLA's data model, but it's not a controlled vocabulary. So you can have subjects that are the same name from different institutions and there's no way that those are given an identifier or controlled in some way so we can differentiate between them. So and also a lot of institutions, a common archival practice is the title of the work is the original caption and who knows if that actually has like the best subject or term of what it depicts. And that's just kind of what we are the decision that we made is that we upload what we have and we wanted to begin by actually being able to provide access to this content as quickly as possible and build a pipeline. And now we're really in the phase where we're trying to iterate on what we've provided or continue to provide and improve the quality and discoverability. So like Fiona said, I'll be presenting on our project in the structured data on commons presentation later if you're interested, but that's really one of our main efforts that's ongoing right now to improve our discoverability is we have these over 2 million uploads and growing that so far are not using linked data in any way or structured data on commons or really topical categories. And so we again are trying to use to apply structured data on common statements across all these millions of uploads to help make them more findable. Thank you Dominic. I think Eder will try to answer that previous question now as well. Eder asked it was a big question. Can you repeat as well because I think people. Yes. Thank you. So the question was how do you manage the conflict between the official versions of history propagated by the works of art at the Museo de Piranga and the modern lecture of those events, for instance, Apology of Banderantes and other kinds of national heroes and the official version of the beauty of Brazil identity as seen 100 years ago. So my answer to this question, I think this question is very relevant in our time today as we see around social media and the news. For example, the removal of racist statues in the United States. We also have those kind of statues here in Brazil. Earlier this month or last month, a statue of a racist Banderente. Banderente is a person that in early history of Brazil was responsible for the genocide for the indigenous people in Brazil. So and discovery of the of the the territory. So this is a very good question and for newcomers it is important to important to contextualize a bit. The Museo de Piranga was created as a historic museum and have a great part of its collection related to the independence of Brazil in the early 19th century and later to the history of the state of Sao Paulo, particularly focusing on its role in the construction of a Brazilian identity in the imaginary of its citizens. So how do we manage that? One of our concerns in this partnership with this partnership with Museo de Piranga is exactly how to approach the collection of the museum in a manner to show its diversity rather than praising only one aspect of it. And the main aspect is the the beginner taught the to praise the independence of Brazil and and national figures and Paulista figures people from Sao Paulo figures and its development. So that goes from choosing images that raised this this type of diversity in the communication to promote the events that we promoted last year and this year I am responsible for the design of those posters. So I tried always to get an image to show a bandarante defeated in the field or a woman soldier and indigenous people and that goes from the art of the posters of the events to the events themselves like promote events specifically focused on this type of diversity. For example, the editatons the indigenous in the museum and the editaton fights for independence of Brazil that focus it on the representation of indigenous people in the artworks of the museum and in the many fights for the independence of Brazil rather than the independence as a unique history throughout all the country. I'll put links to these editatons on Ramon later. Thank you. Thank you, Heather. This was such an important question. Thank you for answering it. Fiona, if you want to answer the question that we have now, I think the person already changes a little bit edit that question. I will post it here again for you to read it again if you want to. Thank you. So there's a question here about whether the Glam department at the foundation is working on advocacy material to promote alliances with institutions noting that it can be hard to engage local Glam institutions in open access projects and chapters and volunteers don't necessarily have all the resources to respond to that. Yeah, so I think this is a really important question. One small thing we're planning imminently is a sort of section on the Wikimedia Foundation website which is sort of institution facing that basically outlines culture and heritage projects, talks about ways that institutions can get involved and give some case studies. So that will just be something that people can be pointed to. But actually, I see some really interesting trends within the movement of people taking regional approaches to this question. So not approaching institutions one at a time, but working on more concerted outreach. So we saw that in the example from Brazil today with the sort of training and outreach to a particular region by ear. We see that Wikimedia Argentina developed a course for Glam professionals and received over 500 signups. CIS in India did a comprehensive mapping of the Maharashtra state understanding what all the barriers to participation might be. So I think there's a lot of promise in kind of this regional approach where you're very aware of the local challenges, the local opportunities. You actually spend some time engaging with the professional network to understand what the barriers are and then sort of produce materials that you can disseminate a little bit more broadly. So I think it would be good as a start to just learn more from those projects that have happened recently to look at where good resources could be translated and shared. But we are also always happy to sort of provide mentoring and support on those kind of big regional or national approaches as well. While I have the mic, I just wanted to acknowledge that there was a comment in the chat on Remo where someone pointed out that actually having 5% of the images contributed by a Glam reused across Wikipedia is actually great. And yes, I agree, like that represent, but especially because as this sort of commenter said, I think it was James, they're not necessarily well categorized or described or set up for reuse. So I just want to agree that absolutely. And I'm sure cultural institutions that have been working with the movement for a long time understand and really appreciate all of the work that goes into doing that. So thank you for that sort of correction, which I just wanted to amplify here. Thank you for that answer, Fiona. So I think I believe that that was the last question. If I'm not mistaken, let's see if some other question arises in this last few minutes. But before we go, I just want to give a shout out to Chauvin who is here and she was presenting from New Zealand, about New Zealand actually, and she's in New Zealand and she's presenting here, she presented here very late for her. So I just wanted to thank her here live because we thanked her at the chat as well. So thank you for that. And I think that's it. Yeah. I would just add I plugged the structured data session that's happening later today. If other speakers here have a session, they would like to sort of give a shout out. Go ahead. Rather than writing, which my time might not be enough for, there will be a session, a quick lightning talk on Hack for Open Glam on Monday. Well, you'll find it in the schedule. Thank you. And some members of the movement Brazil will be joining sessions around wiki data. You know, we are very wiki data nerds. So it's always a pleasure to share with the community what we've been doing with data. So feel free to join us in those sessions. We will be also joining an education table. I think that's tomorrow. And in thinking about one hour, we will be talking about English as a lingua franca of the Wikimedia movement. So this should be an interesting one as well. Thank you. I'm looking forward to watching all of those sessions. Actually, if I can manage to be there at the same time because I'm doing some other presentation, I will catch up later. But thank you, everyone. Thank you for all your presentations. I hope everyone here enjoying presenting and enjoying hearing us. Thank you. Thank you.