 Akira Tatu. Yeah, maeniams Felidgar on the Program Manager Digital here at PAPA. Can be working through a slide with Adrian. Thanks for choosing our presentation this afternoon. My part of the 79 slides is actually only the first 10. So I'm kind of standing here with a wave behind me waiting to engulf you. It's a good wave though, and that's really what the presentation is about. It's really about the results of what's happened since we went live with our open access project in June 2014. So I'm going to introduce the topic, talk a little bit about the what, the why and the how. And then Adrian is going to show you some of the results, some of the response we've had, some of the uses of our images and what's coming in the future. So what do we do? Well in June 2014 we made 31,000 images downloadable for free in the highest resolution that we were able to. We did this through our collections online website. I'm sure many of you will have used it, I hope. It offers a website that provides access to our digital collections, provides access to 500,000 collection records and 130,000 of those with one or more images. The total museum collection size is around 1.8 to 2 million objects and specimens. The images we made available were 17,000 images under a no-know copyright restriction statement. These images can be used, can be remixed, can be shared and can be used commercially. And these are images of the collection of out-of-copyright two-dimensional works such as paintings and photographic prints. Alongside those we made 14,000 images available under Creative Commons, non-commercial, no-derivative licenses. These are images of artworks where copyright has been transferred to Tupapa or where they are commissioned by Tupapa or where Tupapa owns copyright of the image where it's taken images of out-of-copyright three-dimensional objects. So I realise there's a reasonable amount of detail there and I'm not here to unpick the detail but Victoria Leachman, the rights manager, is giving a presentation tomorrow as part of another Creative Commons and Open Licensing session. And that left the rest, which was all rights reserved, which is still about 70,000 images and that pool of collection objects and collections online. These are images that have any third-party copyright, images of tanga, traditional knowledge or identified Māori subjects and images that whose status had yet to be assessed. So we're constantly, well Victoria is constantly going through our collections and clearing more copyright and changing the licences on images of our works. So why do we do this? What do we hope to achieve? We wanted a great sense of achievement like these individuals but we realise that for our collections in a digital space to be relevant, access is no longer about seeing something on a screen and we need to make those images available for use and reuse as much as we can. And we want our collections, our digital collections, to be relevant to people. We want them to be for people to use them in their own ways, to use them for learning, for teaching, for creativity, for inspiration, for innovation. And we need to step out of that as much as we can. This of course fits particularly with two of our strategic priorities, Accessal Areas, which of course is familiar to all of us attending this conference, that we share our collections, our skills and our knowledge with the communities around our te reo in New Zealand and overseas. But also in our envisioning process through recently this notion of manatonga and sharing authority, that Te Papua will share decision making with iwi, communities and individuals with respect to managing and understanding their tanga and treasures. And for us in the digital space, open access and shared authority really map on to each other so well and it provides a great strategic direction for us in digital at Te Papua. And of course many individuals have come to the and told us to do this, no least the Rites Museum who provided such great inspiration last year. We're not the first museum library or gallery archive to be doing this work, of course, and we've received great inspiration from those coming to us at NDF and talking about open access. We recognise that as a national museum we want to lead in this area, we want to bring people along, bring other museums and galleries along with us and try and push some of the boundaries in this space where we can. And we recognise that for a lot of our visitors they expect this sort of access now. They expect to be able to use our collection images and if we don't, if we can't enable that, then we're likely to be ignored or simply worked around or we're ignored. We also want our collections to exist in many places on the web. We want to be part of collaborative projects, we want to be part of innovation and a lot of that for such as the Google Art Project or Wikimedia or the Digital News Analytics and MASH competition and we've been hindered in our abilities to be part of those projects over the years through our licensing framework. So the more we open up, the more we can be part of the collaborative initiatives that we want to be part of. So it's been a reasonably long journey, of course, this hasn't happened overnight and there have been a lot of obstacles a lot of hoops to jump through, sometimes those hoops roll away as the image suggests, but not without a lot of work and effort. One of the key levers for us over the last few years was in 2010 when the NZ Government Open Access Licensing Framework was released. This provided a great level within Tapa to push the open access boundaries and Victoria Leachman, our rights manager, put a paper to our leadership team shortly after NZ Goal was released and our leadership endorsed NZ Goal at that time. We did have a commercial pitch library though, which was set up at the time to generate revenue and a provision was included in that paper that said we were only going to make a low resolution, essentially 640x640 images available for reuse. So of course that's not particularly useful to a lot of people and that was immediately evident to us. So the next couple of years have been really following on from that debate, following on from that tension and keeping the discussion going. We had a new CEO about three years ago, we got a new one started Monday, but about two or three years ago we had a new CEO who started a visioning process and a lot of the discussions and debates in the digital space were around this notion of reuse and the tensions with needing to protect or wanting to protect some sort of commercial benefits from southern licensing of images. But through that process we and discussion, we shifted our pitch library from a strictly commercial part of the organisation and realigned it alongside a digital organisations team who are responsible for our digitisation programme and collections online. So took them out of a strictly commercial focus to also support the public good and generate revenue where they can. So this allowed us to balance up the public good with still retaining some commercial revenue from media sales and licensing. So those are the two key avenues which have allowed us to progress the open access project over the last couple of years. So Adrian's going to take over now and take you through what happened at launch in June 2014 and what's happened since. Okay, and I'm going to go really fast. So we had a brand new website. It was fancy and responsive. We had all the images that we'd been doing all the way through. We had centralised information, particularly rights information. So we'd been building up a lot in the back end to actually enable tabning and we had institutional buy-in. But we did need we needed to develop a new image API to actually make the images available for download. We needed to really seriously think about language and layout to make it really, really clear and we spent quite a lot of time on that. Wanted to keep it as simple as possible, not put any barriers in the way at all to put people off, but we did actually want some data so I'll talk about that a bit. We used a caption generator to help the user attribute our works rather than making it hard. We want them to do it so we'll make it easy for them. We needed to make decisions around delivery formats and so rather than delivering 800 megabyte tiffs, we settled on JPEGs. But at exactly the same size as the highest resolution we have available and as uncompressed as JPEG can be. And we knew that would meet probably 99% of users' needs. So this is what a page looks like and if I can get the laser pointer to work, it's all about that little download button there and that little CC license there. Which takes you to this page which then gives you a very clear rights statement and license, ask you a few questions, but you don't have to fill them in, takes you to a download, shows you how big the image is so you can see, click download and it's yours. And so that's for a natural science so it's a creative commons licensed. This is for an out-of-copyright image, so no non-copyright restrictions and again it's nearly 8000 in the longest dimension for 11 megs compressed, it'll be about 60 megs uncompressed. That's full frame but that's the quality that it gives you at 100%. So you see this lazy guy down here, can you find him now? So he's there. So that's the kind of resolution that we're able to deliver and we're not restricting it. We're going with what we have and on what we have we've been digitising for 15 years or more so there is a variety of the sizes and quality of images we have available but what we did was we did an assessment to see what kind of sizes we had going to be making available and because of the variety of ratio of image sizes and compression types, whether it's grayscale or all those kinds of things, you can't use any real consistent measure except megapixels, which I hate but it is a consistent measure. So when you look at it, 61% are 10 megapixels or bigger and another 24 are actually bigger than 4 so there's actually a very small chunk that are less than 4 megapixels so we were reasonably happy with that but if you're going through and trying to download a lot of stuff you will come across a few that are a little bit small. So we launched, we did a press release because we're a National Museum, it had to go through the Ministry of Culture and Heritage because they wanted to take credit but we didn't know they hadn't done anything. We did a blog as you do we tweeted and that tweet was very popular we were excited so we tweeted again and with a little bit more about how to do it, giving some examples and getting a little bit too excited, apologising for getting too excited and then we started showing about some of the sizes so some of these images are really big and we wanted to make sure that people actually understood that. So what did that give us? It gave us a two page colour spread in the New Zealand Herald which we weren't really expecting, lots of local print coverage except for the DOM, it gave us youth radio, we didn't know it was going to happen of course so they were just talking about the release talking about the collection but social media was where it really happened those tweets travelled around the world for three days and it was really interesting seeing them go. The last continent was South America for some reason, they were three days behind but it's really interesting watching Te Papa and 30,000 in different languages throughout the tweets 5,000 views of the blog post which for us is big three negative tweets and they were all about the type of CC licence we're using we responded and we said don't forget all the non-copyright stuff and it's better than nothing. And really good blog coverage from other people. I've blurt out the ads because I don't like ads so free technology for teachers in an American blog very well received American blog various universities around the world so suit makers stumbled across the press release or the blog and went looking for suits and they found a cast way suit and wrote a blog about it as part of the release Open Culture, fantastic, they were obviously going to promote this kind of thing and then this guy, Corbin, who's a French technology blogger that of course we've never heard of before he blogged about us saying it was great it had a big impact on our metrics. In terms of referrals he was number one for the week, 3,000 referrals just from that blog the Herald gave us 1,200, Open Culture 1,200 Free for Teachers gave us those ones so that's excluding Google but this was direct referrals from actually having communicated what we've done. So this is the country for the first week and you can see France is second and that's because of Corbin so the country list is in a very strange order as a result of the marketing much stranger than it would usually be New Zealand, Australia, the United States etc This is the first month, this is of traffic to collections online so you can obviously see where we announced the download the traffic has gone back to relative normal which is a little bit disappointing but Clout is a really clumsy measure, everybody hates Clout but it does give you some kind of pattern where we're not at 10 points So 50,000 collection views which was a 60% increase for a month, 5,000 blog views and in the first month 2,700 images were downloaded we're approaching 9,000 now we're surprised by the fact that it hasn't actually dropped off that much so we're hoping to do the surveys and track as much metrics as we can about the downloads and we're also using Google Analytics So this is the downloads from Google so you can see there's a big spike there but then there's lots of little spikes and there doesn't really seem to be any big particular reason for any of them it's organic activity and it's a lot higher than I was thinking it would be in a year, we're at 6 months now and we're approaching 9,000 so we just didn't really know what to expect I guess and these are from Excel so I'm sorry So why were they downloaded? Most people just skipped the question but we did get 25% in them answering the question so it's a fairly average spread of reasons but 7% personal, that's good a book is only 38 downloads so we're really losing a lot of revenue out of that and then by license type, kind of not surprising I guess the less restrictive images are being downloaded more but also the fact that the photography collection is generally that and the photography collection is always going to be more that thing as you can see here so this is the breakdown by collection so one archaeozoology download, which isn't that bad because we've highly got any archaeozoology collections 233 mollusks, that's pretty cool and the artist is always going to be second biggest in history this doesn't directly relate to the proportion of images that are available by those collections, it's a number of influences that have impacted on that so we've got the Chinese kittens we've got some Burton brothers, the problem with these is they're the images that we used for the marketing there goes that epilepsy thing so this is kind of meaningless because these are the false popularities but there are a few that have crept in, the squid wasn't one we used to promote so that's just naturally come to the top but it's going to take a lot longer for us to figure out what's really popular and it's quite a grade drill there's a long tail and the stuff that we've promoted is super popular and then it flattens out across a whole lot of images and we ask a few people about why they have downloaded them so I don't think I would want to go to this meeting that's pretty cool and the kind of thing you would expect this is an ancestor of Kalenzo so that's pretty cool and that is a really high risk download cool, we're going international and we're in the industry we are actively being part of education and research and Pacific and you would expect that but there was a little bit more to this one because they're actually wanting to use it to push the same project at the Detroit Institute of Arts and we like little congratulation things this is the kind of example we didn't really think about and why would we want to stop that kind of use by putting financial barriers in the way, I think it's really cool so we can see that this is kind of science and art and that's, you know, again our curators necessarily imagine that their science collections would be used in these ways but they're also being used in standard science ways as well and we want to be part of people's social media lives and their internet lives and their online lives and this is the kind of thing that we can now allow for this is an interesting one because this is actually an image of the UK so this is a project looking at the erosion of the intertidal zones from another country because we hold works that are relevant to them and by being able to promote them in high res they can actually see a lot more than if we've just given them a thumbnail I don't know why they filled in the survey if they weren't sure but then we had real life use as well this was actually the invite for an arts debate at Massey University just before the election we didn't know what was happening, it was actually Thomason who saw it and sent it onto me they've attributed it appropriately and nicely and it looks great, they also used it as the background, it was projected on the background of the debate throughout the entire debate and this was videoed and was streamed so everyone who was watching this was seeing our huia in the background and Heather actually sent me an email yesterday saying that she was basically really pleased that she was able to use it and then she told the story of how they picked it which is really good because more information we have about these reasons that they use them and why they like them, the better we can try and serve them and you get some Facebook history groups and that kind of thing and that's fantastic but you kind of expect that and then you've got Kerry Ann Lee who we all saw before this is an interesting one because she was able to create these out of our online collections, these are all downloaded, she searched your collections online, downloaded them and made a new work, the last commission that we did was with Andrew McLeod and I had to spend 28 hours looking for images for him that he could re-use, download them, load them onto a hard drive and give them to him and he didn't even use 5% of them so I didn't have to do that, she could at her leisure create this fantastic work and new artworks is always one of the arguments that we've had that we want to enable new creativity from the things that we hold that are sort of lighter engagements, DPLA in Tijurumi Zealand having an animated gift competition and someone has used this reasonably simple image to create something less simple, it's sure it's maybe not the most extravagant work in the world but they wanted to make this and it's great that we're actually able to combine 3 different images to create this and she gave a little explanation about why she did it and which is all fine but these are the words that we want to see so that's fantastic, we also found that she was making other gifts and having them in other places, other competitions so she didn't actually give us a link to this or anything, I did a Google image search and I found this and she made 3 or 4 different versions there was one that I'm not going to show so what's next for imaging, Victoria has told me that I can say that we are going to be removing the ND from the licences the NC will stay there for a little while but gradually take that back we're at 45,000 images now and I should say that we're moving to the ND with just a little bit of technical work to do but it shouldn't take too long everybody's working really hard particularly Victoria we're going to add an embed option or blog this or something along those lines we're going to potentially add the ability so that you don't have to download just the biggest image, maybe you just want a 640 so we'll allow for that and we're going to contribute all the no-none copyright images to Wikimedia Commons, I'm just having a little bit of technical issue with that and next also is data, so we're going to make it all our data available as CC by, we're talking to the Getty about making their vocabularies available in the way that we've used them as part of that data because they have recently made their data available as LinkedIn data so it's just a matter of making sure that we're on the same page we thought we'd take the easy route first but it turns out the easy route is actually quite hard we're just going to go to CSV dumps and update them monthly we forgot that our data was so complex and there's a lot of it so we've dropped that and we're just going to start looking at an API so that people can research in ways that they want to so that they can make things that we aren't resource to do or that isn't in our interests and so that we actually become an enabler so we need to analyse more, I mean that is very quick through but it's only a few examples as well there are many more I've could have shown you you just do not know what people are going to do with your images so don't even try to guess just let it happen we were surprised with the numbers, we're happy with the variety of use but it's actually the first time we've done any promotion of collections online and we got really good feedback so no answer to Taonga Māori yet but it's not an uncommon thing and now we're looking at what else can we open in terms of research presentations things like that as well fantastic, we didn't think he'd get through all those slides certainly didn't feel like 76 it felt more like 20, we could just keep watching those all day, thanks very much guys so questions now and please do wait for a microphone and could I ask somebody over on the right hand side there please to grab the microphone on the stand and to volunteer to be a mic runner on that side, thank you so much, here's our first question Tim Jones and Christchurch Agaric, fantastic, all fantastic but it seems to me that some of the uses that people are putting those low-res images to a low-res image would do just as well and I wondered if you had any figures for the pre-June 2014 downloading and use of your low-res images which were there anyway for school projects and whatever there wasn't any download option, it was right click so we couldn't track it, so no not really but anecdotally we knew there was some going on with blogs and that kind of thing but we also know that we weren't having any activity like give it up so no not really but yes the internet age doesn't need the full res but better get to go over than under, that's what we thought More questions, are there in the middle Sir Adrian, how do you upload 25,000 images to Wikimedia Commons? First you try to contact someone to the tools in the test site, then you get really frustrated and you do some angry tweets and then you upload a couple manually and then you resign yourself to the fact that it's not going to be as simple as you thought it was going to be but there is an upload tool that Europeana have worked with Wikimedia on that apparently does work in this good but it has been falling over a couple of times recently but it's an active development of export and import kind of thing so in theory it shouldn't be too onerous if we have to drip feed it we will but yeah I just have a question about attribution, have you found any difference between being attributed as a creator and the actual institution So we use the caption generator to generate the attributions that we want and they're the same attributions that we use but it includes title make a registration production date as well as the licence and to Papa and a link to the original so it's very structured and it's about both of us generally from what we've seen in the examples people have been following that exact format but I'm sure that there are other places where they've decided to attribute a slightly differently but yeah we'll just have to see how it goes I guess Hold on one second please Just to clarify on the attribution the no known copyright restrictions we politely ask people to do it, we don't require it obviously under the Creative Commons licence we require it but as far as the no known copyright restriction items are concerned it's a please will you Any more questions? Over here I heard earlier on you talked about how fitted your objective tāonga sharing with iwi, so can you just elaborate slightly on that about how you might see that's going to happen to help you make tāonga more accessible? We've got a lot more work to do in that space, we haven't started a process I think the intention around mana tonga and sharing authority is for us to work alongside communities and individuals and others to make decisions regarding how those tāonga are managed and used the process that we've gone through here wasn't a very formal kind of hardcore policy approach we've tried to take pragmatic steps as we can and bring the organisation along with us we did more of a process around the tāonga Māori and the images of Māori subjects and that process is still reasonably in its early days but it's something we need to work through but the principle is there and I think in the digital age this sort of open access really sports that principle really well Right it's time for coffee I'm sure you'll all be glad can we just have a final round of applause for Phil and Adrian please