 Hello and welcome to Crisis and Glam. This is a panel discussion and workshop that considers our as Wikimedians possibilities of using our tools and skills to make a positive impact in today's crisis. We learn from the experiences of three Wikimedians. Eder Porto from Wikimovimento Brasil introduces the digital reconstruction work. They undertook when a massive fire devastated the building and collections of the National Museum of Brazil in 2018. Nassima Shabun from Wiki World Heritage walks us through the work of Windanger that promotes and raises awareness of UNESCO World Heritage sites in danger using participatory creative tactics and Wikimedia projects. And finally, Hanna Osachuk from Wikimedia Ukraine talks about open access to cultural heritage as seen from within the ongoing war. I am Susanna Ones from Avonglam, Finland. Together with Patricia Diaz-Rubio from Wikimedia Chile, we will be moderating this discussion. Linda Saukorauta records the ideas and discussions by drawing and the results will be shared openly after the event. So over to Patricia. Thank you Susanna and thank you all of you for participating for creating this opportunity to have such a diverse panel where we expect to learn from territories that seem so different, right? Like Finland, Brazil, Ukraine, Morocco and the Middle East and Chile, of course. Just to situate a little personal experience, before joining the Wikimedia movement in 2018, I was very involved in disaster studies, particularly in the study of the narratives and memory construction around disasters like earthquakes that happen so often in my country. And since I started working with Wikimedia Chile, I have wondered how to conjoin these two topics. And I'm really looking forward to learning more about your different experiences as Wikimedians facing different types of crisis from disasters to war to conflicts and hopefully create new networks of wiki collaborations around this matter. So we have a workshop, we have presentations first and then we have the workshop part and we have the chat. So I wonder, would you be willing to talk us through that, Patricia? We have parts how to work. Yes, well actually, like you said, we had the ether path that we invite you to write your names, where are you from, maybe if you participate in a Wikimedia structure, you can write that down. And we encourage you to leave any kind of questions or reflections, experiences that you want to share with us, with the presenters and with the community. We really invite you to write all your ideas there so we can share them after with the presenters. Yes, since it is a little bit of a challenge to discuss over this feed and this stream, so in that sense we invite you to discuss and do the workshop thing between you participants and we can also chime in on that specific ether path. So let me see, you will see the questions over there and we can come back to them like closer to that. So I'm saying please use that time well and record your important ideas in the ether path. And as always we follow the universal code of conduct in this session as well. So, we will first hear the presentation of Eder, Eder Porto. He is a software developer and a mathematician and he works as products and resources manager at User Group Wikimovement in Brazil. Welcome Eder. Thank you, Susana. Thank you, Patricia and all the other panelists. And if you can go to the next slide, please. And the other one. Yes, so my presentation of Brazil, the digital preservation after a disaster. Next one. So, first, I want to talk about this slide is very, very important, the headline of it. There is a deadline. I want to introduce this notion of the deadline in the sum of our knowledge, our human knowledge. I can't stress this enough, so I made bold, italic and underlined that there is a deadline. So, every day, everywhere in the world, pieces of human knowledge are lost forever due to infinite reasons. The fire that be a natural disaster that we can't prevent or some things that we can prevent are, for example, destruction of property, fire, floods and many, many reasons. So, in this context of knowledge being lost forever, because we can't repair or recover these pieces of knowledge that are disappearing. We build from our Wikimedia movement movements for the preservation of material and immaterial heritage. This is not exclusive of the Wikimedia movement, but the Wikimedia movement wakes or acts as movement, a central piece of the future of preservation of material and immaterial heritage. So, we actually wrote about an article about the fire of the National Museum of Brazil and in the next slide I will present the links. But something that is said in that article that we say about this study case is that the influential cultural and social movements will emerge from the intertwining of local contexts and digital strategies which will eventually lead to global impact. So, we have our local contexts and our local disasters to manage and we have digital strategies and we have to work on these digital strategies to lead to a global impact action. And I put a link on there on the essay on Wikimedia that is a deadline that details this notion. Next one, please. So, about the National Museum or Museo Nacional in Portuguese, it was established in 1818 by the Imperial family. And it was, it still exists, the oldest educational and scientific institution in Brazil. And it was created already in that time with the intent of becoming educational and scientific dissemination purposes. In 1989, it starts to occupy the passage of San Cristóvão. It is the building in the back of this image and it's a historical building. It was the residency of the Imperial family. In 1889, we changed to a republic and that became the house of the museum. In 1964, it is integrated with the Federal University of Rio de Janeiro and become a museum of that university. And it has, it had one of the largest collections of natural history and anthropology in the world with 2 million, nearly 20 million artifacts in its collection. Next one, please. And in September 2, 2018, disaster struck upon the museum and a massive fire destroyed the building completely. And most of its collection is estimated 95% of the collection that we have some recovery, some items were recovered and I don't have the statistics on that, but it was estimated 95% at the time. We are talking here artifacts and collection of the museum, things like species that were collected in the botanical and insects and other animals. And we are talking also about that, such as deeply, Amy, we lost some indigenous recordings of languages that don't exist anymore, the people that spoke that those languages don't exist anymore. And in the museum were the only recordings of those languages, and that it's a loss for the whole humanity, and not only for Brazil. The cause of the fire was lack of external grounding and individual circuit breaker in an air conditioner in a room in the first floor, and that started a fire. The real cause of this fire and this disaster. It was the shrinking investment for public institutions and this organization of the National Museum Agency in Brazil during the years prior to 2018. And that became a practice in the Brazilian government, and it's not exclusive for Brazil. We have these for this structure of shrinking investment for public institutions, especially in the cultural sector throughout the global south as a whole. And for this, at the time of the disaster of the fire, we came with a project called National Museum Prospect Project, and where Wikimedians from Brazil from other places came together to salvage what was left of the collection of the museum that was digitized. It was photographed by people going to the museum. So next slide please. And so this project is interweek project is not only on Portuguese Wikipedia, but was coordinated on Portuguese Wikipedia, and we had a real digital preservation and dissemination of this collection because it's known and we have made this up. All the momentum, we have to take advantage of the momentum of such crisis to act on it and engage people to work on this type of digital preservation, crowdsourcing in response to this type of disasters. I have some references about this project specifically, digital crowdsourcing in response to a cultural disaster and what's called data archeology because we saved books and to get photos from the general public to reconstruct the museum, the rooms in the museum in the Portuguese Wikipedia and other Wikipedia using a range of tools. Most of them are well known tools like quick statements tabernacle and so on. But we had used other tools to help us coordinate and disseminate this content and organize the task force for this project. And this also should be in bold and italic and underlined. The most important part of this project is documentation documentation and documentation. How do we as a community engage people to work in this type of projects and how do we act on this type of strategy or other types of strategy when they happen because again there is a deadline they will eventually happen and we need to be able to act on them as soon as they strike. So for that we need documentation of how to do dissemination, how to gather people, which tools do we use to coordinate these activities. Next one please. So this is a slide about the article, the academic article that we wrote last year and this year. Alvis Burley, Lima, Pio and Pashansky, 2022. There's the link. And in this article we made exactly these two questions. What is the optimized infrastructure for cultural movements on Wikimedia, as Wikimedia acts as the central and basic infrastructure for open knowledge. And how does the development of these processes and resources for cultural preservation and dissemination in a collaborative digital environment happen. So we answer these questions in the article, and we invite you all to read it and to contribute to these conclusions. I think the next one. Yeah, and I pass the stage for the next one. Thank you. I would briefly like to hear in the middle. Thank you, Edel. And I would like to bring on the screen the illustration Linda is working on while I'm saying the next few words. In the crisis and glam page on meta wiki, and there will probably be other places where these will be available for Wikimedia, but refer to them there. So please also remember to add your questions in the chat and record them in the ether pad. I think it's better to write in the ether pad. We will present the questions after the presentations. So, next, we would like to invite a Nassima shaboon to present. She's an architect and Wikimedia from Morocco, and the chair and co founder of wiki world heritage user group. Welcome. Thank you, Susanna. I will present a project that we that is still ongoing in wiki word heritage, which is called wind danger, actually wind danger scope is to document the word heritage sites. That are endangered. Next slide please. For data sites are inscribed on the danger list, either because of conflicts mismanagement or natural disasters. And the aim of wind danger is to create wiki based interactive content that will be appealing to different audiences in order to promote and raise awareness about these sites. Next slide please. So, the question is why we are intending to document thoroughly these sites and why we would like to create a more interactive and appealing content. The first reason is to change perceptions about these sites and also these countries, because countries like Yemen, Afghanistan, Libya, for example, are always seen through the prison of politics and conflicts. And we would like to draw the attention to the diversity and richness of cultures in these countries. And on the other hand, we would like to contribute in helping heritage professionals, architects, archaeologists and reconstruction professionals in order to lead better reconstruction works. So we are anticipating future disasters and creating sustainable images and videos and text repository in order to help them when they will need to gather information about sites that no longer exist. Next slide please. So who are our audiences? First of all, we are targeting locals in these countries and we are trying to reconnect them with their cultural heritage because in times of conflicts, especially of conflicts, cultural heritage is no longer a priority for people and also for the different governments. So many people in these countries, especially youth and people who grow within conflict, do not have any knowledge about their culture and heritage and also they are not aware of the importance of preserving their culture. So when we are involved in the documentation process through participating in photography campaigns, for example, or writing Wikipedia articles, they are learning more and more about this heritage and they're creating some emotional bounds with it. Then our second target audience is foreigners, is the international community in order to fight stereotypes. As I said earlier, always these countries are seen through the presence of politics and conflicts. So when we are trying to change this perception, we are also fighting some stereotypes and we are pointing the common things that we have all over the world, which is culture and heritage. Because heritage is always just a different interpretation of the same culture and values between different countries and regions. Then our third target audience is heritage professionals. And speaking from the perspective of an architect, any photo that exists on Commons might be very helpful and of extreme importance, especially for architects, because some photos, even if they are not in a very good quality, they can have a load of information that sometimes we don't pay attention to. For example, architectural details, the type of damage for buildings, they can give an idea about the construction technique, etc. And this image, for example, of Takis Afganistan that we could have, that we could collect during our photographic campaign, can show how a photo bear a lot of information about the type of construction and also of the different details in a building. Next slide, please. So now the question is how are we going to do this? How are we going to reach these different audiences? Of course, everybody, I believe that everybody knows Wikipedia, but are all the people all over the world aware of how Wikipedia works or how to use Wikipedia in an effective way? And the most important thing is, are they aware of the existence of the sister project? Because Wikipedia is the most famous project, but not everybody is aware of Wikidata, for example. So what we are trying to do through Windanger is to leverage the different possibilities and options given by Wikidata, of course, linking it and creating synergies with the other projects like Wikipedia and Cummins, and we are trying to make all these contents accessible to the people who have no clue what Sparkle is, for example. And especially professionals in heritage fields, they are not aware of all these technology tools because they are coming from a very different background. So what we are trying to do is to simplify the access to the results of Wikidata instead of letting them learn the process from scratch. Next slide, please. And how we did this is to involve including all the information that exists on Wikipedia, Wikidata, and Wikimedia Cummins on a new website, which is the website of WikiWord Heritage, and we have different sections for our different projects, including Windanger. And here, for example, you can see that we can preview the different timelines related to the different sites through a simple click instead of building queries from scratch. So what we try to do is to translate the Wikidata queries into a very simple search process using a search bar and including all the relevant sites. We included also maps, graphs, and different statistics that can be useful for the professionals for the different sites. So if a professional in the field of heritage needs to have access to information on the different Wikipedia projects, they will find it centralized and accessible from here. And they will not have any technical aspects that can hinder them from reaching the information. So you will find the different types of content like timelines, graphs, maps, statistics on a Wikidata website. And you are all invited to participate in our campaigns on the Windanger Meta page. You can find all the contests and programs on the project page on Meta. Thank you. Thank you, Nacima. We hope all of the spectators are now in full speed recording your ideas and experiences and thoughts and questions in the Etherpad for discussing further. And I would also like to, if we have the opportunity to have a peek at what Linda has been drawing while we've been hearing from the Wikimedians, but we can also have a look at that later. Oh well, here. So we'll spend a moment to have a look. Linda does this live recording, graphic recording, and these images will be available under open licenses after the event. But to go fast or forward, we will now invite Hanna Osadjuk to talk about her experiences. Hanna works as a Glam and Education Program Manager in Wikimedia, Ukraine, and Hanna will also introduce Yacheslav, a fellow Wikimedian, and welcome Hanna and Yacheslav. Thank you, Susanna. Thank you for this opportunity to share our insights, our view on how to preserve cultural heritage as it's seen from within the ongoing war. So what I wanted to say the most is like this crisis is still happening. This is why we have this very black and white perspective, and it sometimes is very helpful to understand where your enemy is and who are you fighting for and what are you fighting for, because it gives absolutely amazing understanding what is worth saving and what is worth fighting for. We are very, really care about our language, our cultural heritage, prominent people of the past and the present and our heroes who are fighting for our freedom today. And it is worth mentioning that Ukraine is a pretty big country. It's one of the largest European countries and we have more than 5,000 museums, more than 15,000 libraries all across Ukraine. Unfortunately, now more than half of it are not functioning properly. Some of them because they are occupied by Russian troops, they are on the territories which are like occupied now, or because of the threat of a constant shelling and bombing by Russian aviation and artillery. So it is an interesting perspective as a manager who is responsible for working with librarians and museum workers and archivists to see how it's all different now, how they are understanding why putting their data online is important. So also I want to stress that the main efforts of Wikimedia Ukraine since February 24th is on supporting your community and our cooperation with the Glam institutions are mostly like a common project, a digitalization and everything like that is frozen for six months now, mainly because they can't operate under this constant threat of being shelled. Next slide please. Next one. Yeah, so my point with this slide is that we put a new meaning into our old and continuing projects like Wikilov monuments for example, it now has this new perspective of war Wikilov monuments, where we ask our community to upload photos of those monuments and buildings and cultural heritage which is ruined basically now and we can't just repair it just yet but we can document it and upload to the Wikicommons and describe it on a Wikipedia article. Also a new spin has the editor films which are initiated by Wikimedia Ukraine or our community about this different regions in Ukraine like Kharkiv region which is very north and under constant threat at constant challenge by Russian troops at the Crimea week, the Chernihiv region week, the Mariupol week, all of them have this very different approach to them now and they are very much concentrating on preserving the knowledge and preserving the state how it was like pre-war because we're in the middle of it, we can't already start to work on something else just yet. And also main take from all these weeks and projects we had that there will be a lot more interest to your country, to this specific region and a lot less people who can add it coherently. There will be a Vandals there, that's why it's required more patrollers and administrators to review this specific topic. It is important to stress because people want to see the relevant information and it's pretty hard to do it in time. Next slide please. With this one I just wanted to share this regret we have that we didn't have the best practices with licensing and freedom of panorama at the fullest here. The world want to see Ukraine fully through the lens of different documentaries, photographs and they still do but because we do not have for example freedom of panorama this images, this video can be removed from a public terms which is a big and sad news for us. Also if we would have the Creative Commons license in open access in place and they would be understood and accepted by Glam institutions at the time of the war probably this would help much more to save the different galleries also like pictures much more than a sandbags in a building windows. Maybe you saw the pictures from Ukraine where all the statues are surrounded by a sandbags and buildings have a sandbags in a windows. So why the bomb wave coming through it's not like the insides can still survive probably if they will be digitalized and uploaded that will be much more helpful than a sandbags. So prioritize your advocacy efforts when you can it is really urgent deadline is there you just know when it will come yet. Next slide please. I put on this slide a few easy ways to help Ukraine. So it is also I think some of those will be helpful to any community in a crisis situation. Because one main thing we like have understood here in Ukraine that in a modern world symbolic support matters a lot. When you use a correct term when you're saying Kyiv or instead of Kyiv when you're saying Odessa and spelling it with one S when you're saying Chernobyl instead of Chernobyl. It really gives us an understanding that you support in the cause so you even use using an appropriate term is important. Voice your position where clothes which supporting the cause or even create a silly dances on TikTok. It's all helping and in this modern world all these symbols they are sometimes even like give us a lot of hope and that's it is important. Also today we can many started with a beautiful video about Ukrainian culture you can watch it via link on this presentation. You can watch it again if you've seen it already. You can help by translating an article to your language some of the example of articles also you can access via link. And if you want to help us fight please donate. Next slide. I want to introduce and invite for to share his experience. My colleague Vyacheslav he is a member of Wikimedia Ukraine and a librarian. I just want to stress that his city he did not flee the city and his city Harkiv is under constant challenge for six months. So we thought that it would be a good idea to let him share his experience to our audience. I'm member of Wikimedia Ukraine and the librarian of the Harkiv State Scientific Library. Our library has a good history of cooperation with Wikimedia Ukraine. We have many plans for this year but due to the military aggression of Russia most of them remain unreliable. I myself had to leave and work some time in a bomb shelter in the spring. In such condition I wrote several articles for Wikimedia about Harkiv scientists in particular Oleg Amasov and Valery Moskovitz victims of Russian aggression. I also digitalized and posted on Wikisource several articles from 1918 year scans of which I made before the war. Now many rare books, magazines and archival documents in library funds are in danger of being destroyed because of the war. The question of their scanning and digitalization is one of the most important in my activity. After the end of the military aggression I plan to actively and change in scanning and publishing on Wikirepress and Wikisource books from the library. It is explained that this will be a joint project with Wikimedia Ukraine. Preliminary negotiations were held in the spring of this year. I see interest in this project both from the side of Wikimedia Ukraine and from the side of the library management. But I cannot start the project while there are active military operations in the country. It's all for me. Thank you. Thank you, Hannah and Vyacheslav. I would like to ask if the audience has already asked questions. Maybe Patricia, you could... We do have some questions. Actually we have questions for Nasima and Eder for now. But we really encourage you to leave questions, comments or your own experiences or ideas with this topic in the Ederpad. For Nasima, Windanger have engaged alliances or collaborations with institutions that might help you to promote this project. What kind of support or resources would you need to ensure the work that you are doing in this project? Thank you for this question. Actually in Windanger, each time we worked in a country, we were collaborating with a local NGO. We worked with a Libyan organization and a Yemeni organization. Once we started our collaboration with Nafgan NGO, the Aqabul fell in the hands of Taliban, so we lost contact with our collaborators. Instead of this, we found many international institutions that were very interested in Afghanistan at the moment. So we worked with WH International. And how we were working with them is through enabling and building capacity for locals to lead the Wiki activities themselves in their countries. So we conducted training of trainers, especially in Wikipedia. And those who received the trainings, they were able to organize edictons in the country. And we also launched online photography campaigns that were widely advertised by the NGOs. And we tried also to collect some testimonials, some video testimonials from heritage professionals in these countries. So all the work was made through partnerships and collaborations. For the support, actually besides improving the content through translation, through donating photos if you are from one of the countries that have endangered sites, we also would like to have some more material that explains what is Wikimedia, what is the Wikimedia movement and what is the importance of the Wiki project. Because the biggest challenge that we faced is to raise awareness and really explain what Wikimedia is and what is its importance in countries where there are no pre-existing Wikimedia communities. So we found that people are not aware of the importance of the movement. They are not familiar with the notions of open knowledge and they don't understand what help and what contribution can the open knowledge have to defend and preserve their heritage. And we struggled in finding material that we can use to explain what Wikimedia is. We have another question for Eder. What is the strategies or learning experience from what happened after Rio de Janeiro's museum, have you translated into the work you do in the Wikimedia movement of Brazil? Do you have a Glam project to invite or engage cultural institutions to preserve, to prevent? Yeah, I think the answer to this question relates with what Nazima was talking about, showing institutions, Glam institutions and other cultural institutions, the role of Wikimedia and how they can benefit from putting their archives, their collections into Wikimedia. The Wikimedia platforms and we had adopted, this is 2018, the fire accord in 2018 and then we didn't have support from the Wikimedia foundation as a user group. We became, we were re-recognized as a user group in 2019 and from there, so we had to rely on our resources. And the resources that we have been developing since 2017 and especially after the fire is on these approach to Glam institutions, on showing them what they can benefit from working with the Wikimedia community. And since then we have 40 Glam partnerships, but the major change and practice that we adopted is to document what is a Glam partnership, what you can benefit from it, how the work that we do with disasters, for example, is done. We don't have a Glam partnership to engage cultural institutions to preserve or to prevent. To prevent is a political approach that we work as volunteers and within governments and in the political side, but we don't have any partnerships to preserve. Every Glam partnership is to preserve, but we don't have a focus already on the start of the Glam partnerships. Thank you. Thank you then. We have one more question. Susana, maybe you want to read it? Okay, yes. This is specifically for Vjateslav from Harkiv. The person asking is saying that they are an experienced Wikicontributor staying in Harkiv as well. Once you restart your activities to digitalize the materials of the scientific library, our new volunteers welcome to help with the project. In English, I'm not so understand the question. Vjateslav has a question from a user who is also in Harkiv now. His question is, when will the work on scanning documents be renewed? Will you accept volunteers or will you interfere with your own forces? Can I answer it in Ukrainian? Yes. Scanning is impossible until the library works. The library is not open now. Even workers don't go there and we can't work with it. As soon as it happens, we will receive a scan from Wikimedia Ukraine. They promised us to use it and we will continue. In principle, it is possible to take pictures on a camera, as I did. You can also continue. Help is always possible. We will accept it with joy, because it is not just about taking pictures. You need to digitize them and read them. If someone wants, let them write to me or to Wikimedia or to Facebook. If you want to share our library, we will explain how to work with it. You can coordinate it, but this will be the best case in autumn. Maybe when the war is over, I can't say that now. Can you leave a contact email or a library to write a list about the scan? I can write it now. Okay. They hope to bring the professional scanner, like the apparatus, to their library, which will be funded by Wikimedia Ukraine. But even if that doesn't happen, it still can be done by a digital camera. The thing is, it's not only the photographing and scanning, it's also proofreading and a lot of work like that. Vyacheslav will text us emails or contact numbers, which can be contacted to help with this work. And by his very optimistic prognosis, it can start at autumn or after the actual Ukraine win in this war. That's a victory in this war. So, I think on our session page in Meta, there will be a little note with how to contact Vyacheslav and help with this digitalizing of the library documents. Thank you, everyone. I think we are just suitably over time. And what I urge everyone to do is to join the conversation and continue the conversation. Well, not only conversation. I think the idea is to do things, and this is what Wikimedia volunteers and networks generally do. They roll their sleeves and do things. And so we all just have to find the ways in which we can roll our sleeves in these matters. So our proposal is that we would set up a telegram group. And for that, we invite you to write your telegram handles in the etherpad. But there will probably be different kinds of discussions. But I hope that this is not the end of this discussion, but it's just like a start or a boost for bringing these further. Any other last words? I would just invite everyone to say just a little something. Well, if I can start, Sana, thank you so much again for creating this opportunity to connecting all of us from so many different places to share this concern that we have. And what a wonderful and urgent task are you all doing in your different territories. Thank you so much for doing this. And I really hope that we can continue creating these collaborations, right, to learn from each other and to help us as well in the ways we can, just like Hannah said. Everything, it's a contribution. So everything we might do is a contribution. So thank you. Anyone you may pick up the mic? Yeah, I can jump in. I just wanted to say and to emphasize that all these presentations that you saw here and all the topics that we approached are within this notion. And I just wanted to emphasize again the notion that there is a deadline as collaborative movement and cultural and collaborative intelligence work to preserve and to work with what we have left of the sum of our knowledge and contribute to the sum of our knowledge. And that is our mission as Wikimedians. Hannah and Massima, which one will do quicker? I would just like to thank you for this opportunity to talk and I am looking forward to seeing a big resolution which was drawn during our session because it looks so colorful and interesting, but I can see only like a little part of it. So it is really important for us that you invite us to speak about our experience. I hope next year we will be able to tell more about how we rebuild everything and our cultural heritage is saved and sound and it's not under a constant threat anymore. But for now it is extremely important to be a part of a conversation and be something whose voice is heard. It is very important for us. Thank you. Massima, I wonder if you are capable of speaking? Maybe not. Massima has had to leave for another session. So I also thank again and thank Linda whose drawing is up on the screen and wish you all a wonderful Wikimedia and we will be seeing these results in the project page Crisis and Glam on Meta and around the web. Thank you so much. I think we are saying bye for today. Thank you. Bye. Thank you.