Good evening ladies and gentlemen, it is appleasure,
to be part of this opening event and pleasure belongs to source
things that gets more when you're sharing it, with others.
And this evening we are many to sharve this. Firstly,
I want to think my previous,
because director opt amuseum, professionalism,
not then least for covid in the space here in the
excellent examples of music
digital media in the heritage sector
Senator, Dr. Broster, Joining Us,
and encore and couraching us, this gotless Adams,
in our conversations about cultural data.
Founder of the sharing is caring conference murray to Sandahoff,
for supporting us in this extension and providing this create idea.
And thanks, of course,
to doctor Antje Schmidt,
co-organizer,
co-conceptioner and co-sinker
Von des Hamburg Intention and I also would like to mentions amanda loots PHD student,
who really did at tromendous lot of work,
all so co-conceptional costing ran, co-organizer, she is, somewhere out
there in the mag. Yes, openness,
addituitization is had interest of antio and me,
we have discasted, for a long time,
before anti took, the initiative to speakers merator,
about them extellation of disconference, be realized in this exchanges,
that we look at issues openness and digitization from different angles.
And that this is very inspiring for each of us.
We could right also inteaching. And here is skiving a
class and digititization in museums in our study program,
at University of Hamburg. And you proaches,
the standpoint of the claims,
a long standing experience experience in the implementation here in the museum für Kunst und Gewerbe Hamburg,
and all the international discussions around these issues.
My eggle is again, ja
Course as University Professor and Researcher educated in European as morigy and cultural entrepolity.
I know work in the fields of digital entrepolity and entrepolity of knowledge.
And I'm quite and entsusia stick about technology and Restarteds using the computer,
mitwirkt,
wie wir working on doss level and we didn't even have city roms,
but those floppy discs,
you probably relember that time too however
I'm also rather critical about technology, because I think being critical,
is also source of innovation and having critical intellectuals,
having critical artists,
is very important to bring things fritter, we see,
we will see that later on on liner free
title hack, because here and very critical point of you is made.
And I think this is what we can do,
also in the humanities, being positive about technology,
but also being quittable and debating and discussing it and automaking claims.
What we need wall the cultural sector and why we want
that designers of IT-System listen to us and get aware,
about the needs in our fields.
And also in the field of digital humanities,
so I'm quite familiar with that they look to
And I will of course, take a critical perspective now in
the wish and hope to contribute to this crate development,
that was initiated, much earlier.
Open cultural materials are open cultural data isn't issue in
the distrance disziplinary by nature, we here that already from
anti and did its about making knowledges of diverse sectors available
for each other
Cruision questions are not organized a long academic disziplins,
but and grace various branches,
this becomes nice ly visible in the conference program,
claims, scaleries, live, varies, archives,
museum, NGOs, non governmental organization,
ins cultural administration and politics, creative professionals, Social Entrepreneurs,
and ecademia meet to discuss the issues of cultural data in its multifacettedness.
Openers is a value. Ten culture be copyrighted ask
micael brown in US American andrepolitist
He didn't have to chitization or open cultural data in mind, not at all.
When he tited this paper back into year 1998. In his
paper hero first to the requirest of an asnick group in Australia,
to row to remove information about the cure in the public wealm.
The group didn't want, the cultural material rives to be displayed
in youseums and made of available for the public there.
The self-evident understanding of the free circulation of cultural materials,
was challenged. It was experienced as a form of this
Wie all out to published,
what we have collected and observed in the field studies auswählen.
What cultural materials should be in the public realm,
is there something like hulsure or collective ownership.
This debate at the end on the 990s,
highlights and that bringing cultural materials into museals and making them public,
was considered asn't act of elitgitimate openess, by acroup approude in Australia.
It question what looks rather normal to us today
and here
The idea of open and free circulation of noise is ogasual
deeply embedded in European culture. It is a round you,
that we can not taken for crited it is contested it many ways,
also in Europe when economic political and social interests immerge,
copyright secret elections privacy.
The discussion about the conditions of openness is wasn't on going metter.
Openness needs to be balanced with other values and orientations and
this saws permanently, nee go shi, nego shiated.
Openness is that is not just emerging with digitization, but of course,
here it is as steak in a new and pressing way.
And we have to learn and trust duddy,
these new canditions, to make it beneficial to find beneficial
balance about the constructing interest in these field.
Fields. Openers, the Form of Valorifation.
Bring cultural materials to museums or towns letting them into the
digital real. And that's making them public changes the quality
No matter if out or every day culture. It makes the more visible,
and object of public interest and also real norizes and then
as relevant, for culture, as cultural heritage.
Bei einer Resation of the Halter happens in many forms,
concepts like hurritocization invention of tradition and practicultization,
indicator girls ways of valuisation,
and also of way also of ways of making culture arailable to marketization.
The mentioned fonds of
valuization arbeitfar not confrehensive
Only the tipp of the ice work of possible forms.
They also indicated that return off is invest offen is not
a direct one in the realm of culture, sometimes it made be.
But very really it is culture, is not like,
another commodity, that can be post over the table for certain amount of money,
culture, gets more,
when it is shared and does it is not the casness of the resource,
that makes it expensive sometimes it is.
But sometimes it isn't in the luyer on of culture.
So we need much better under standing about these principles
of better recation of cultures and also,
we need to discuss more proudly who than will be
the beneficiory of what is more ditized,
also the forms in
a this monitized
It is a sensible question and the gain here we ask to home,
do cultural explorations, belong should traditional patterns from as a croups,
be printed on materials and who earns van the money.
What is the role up the museum, that is displaying the patterns,
who should benefit, wenn culture gets monetized,
the bearres of culture or the bears of vanversation.
I think there are are many answers and there's probably not the one right,
but we probably have to different shade and Learn more about this.
And there is another interesting complimentary position in this question,
it is taken by the prominent french social notes is, Luke Waltanski.
He recently highlighted on the example of fronts,
that it's maining the symbolic economy that is creating editional
volume investing societies, the work of designers,
artists and the cultural sector.
The national economies in Europe depend on the innovation in these sectors,
since the industrial production is than aswhere in a global
division of navor
Overall tansky Highlights, how essential it is,
for these societies to a knowledge,
the contribution of the cultural sector in financial terms.
And let those for at the value also benefit and partic in the bells,
rothers in the having, a larger and number of prequeririous,
living creative people. Offen here, it is also an
indirect way of gaining money from the cultural sector,
because the ideas created here as circrelating and developed further.
However, baltansky, dasmann,
provide a way how to solve disclaim.
It is
more complicated
More complications question effecting national economies in that rather ametor of joint troins disziplinary efforts.
Openness as a form of sustainability in culture,
even solves fascinability is not very very very fire
and as concept in the realm of culture,
I will use it here to highlight that culture is a living system.
Culture as vision for human life,
it is a public matter, it is a commons,
we need it like food or air to preath,
humans are culture species
Culture cass a large spend with from art to trash.
It is a concert, that refurse to ästhetic is create expressions,
but also more and general to the man made,
to the collective,
to shared conventions and perceptions to come the heaviers and intersubjective shared meanings and simbles.
Unicness, a high raume in the arts,
imertials from and in reference to the collective forcord force if conventions.
If you speak about culture,
must us it can so large spend with of
expressions objects and practices
It is this pent with that frames and maybe also complicates
or discussions about openness and sharing of culture digital or analoge.
How can cultural expressions circulate in a group,
when the use is recullated by institutions,
restricted by copyrights or charged for economic purposes,
what does is mean for life live liness of cultural traditions,
to their inheritance from generation to generation.
Questions like these point towards the basic quality of culture for
the organization of human life, question, that is imbeditedly present,
when we speak about cultural Open Culture Data in Glams.
Openness in respect to the sprout on the standing of culture
than becomes also a question of culture citizenship.
A question of partaking of all cribs and people in society of staging,
not of only halling access, but also of staging and including there here twitches in public memories.
Adding the idea of cultural citizenship to the idea of open culture data,
contributes to developing concept and models of fairing and openness.
It looks like a promising call lation to think both together
Ititiation, alone you also hu sendences on digitization,
digitization indeed makes a difference. It changes the modelities of
cultural production and does offer membering and forgetting tremendsly.
Copy and paste. Hess, become easy with digital technologies,
sharing seems to be deeply embedded in Social Media.
But not only there you just deeply inherited in the everyday
practices and communication. It is a nature of culture.
On what is shared can be come, can become common sense,
can be come the normal and the overjeans in people live.
Sharing is what people do
This their culture materials, what they have always done,
that take pictures to share them,
they make text to circulate in commandom,
they use media to mash up,
and to create new ideas by merging out materials and adding them to current situations.
Digital media just give them new and more means to do
that merital pointed that out, that they connected,
all ready to that.
From a historical point of you. Never me falls
coalmany people
Have been able to spence so many time,
so much time, for asthetic productions.
Never has people been able to publish,
so isly the selfmade pieces and to make them available to worldwide,
most audience as they do today zu Social Media platforms.
We will to have to cowboys, this g changes in digital cultural production.
They are already effecting our societies and will continuity tour effect
as even war in future to come.
It deeply effects also the ways of memory work of freman,
memory and forgetting,
because he are people
have more means too
And we up only at the beginning on these changes and
future with when have to come more miss and wohnen,
digital materials,
you will have to concider in learn about the circulation of cultural material
jetzt is from the digital to the analoge and back gain,
because digital
is just one form off representation and we world loose the
material world. So we will still have analoge log forms.
We have it here time.
Old school
So, we will think about these forms of circulation and
also what it means to single elements and to culture in general.
I think it's an exciting modevelopment, going on year.
At let me conclude, with a link to the future.
Because this to why we are does discussing open culture data.
Digital culturing materials, provide mew means,
for how we want to to refer to the past
And visioning possible futures in European societies. Open cultural materials,
Ordata and issue beyond clams and research for society at large.
It is not a matter of education to education is maybe not
quite right in this context. I think this changes also.
And lot, we probablys better speak of cross generational learning.
The term education gives the impression of a more you unidirectional parts,
my impression is,
that in the context of digitization,
the gain a lot from young people
In this respect, I'm quite happy, that's judents are involved in the conference.
There are not only hell post with the organization.
They also contribute intellectually. In various, ways,
through the facting, relevant positions, in the debate,
about open cultural data from digital transforming positions and practices,
into digital representations,
documenting the outcomes of the conference,
but from a different point
of you
And probably other good ideas would have emerged,
if the students had more space and time for developing,
then so I think it is really interesting perspective that we're should consider more there,
more for million is, what is digital?
Most of them now. Opening up that means to include more ideas,
more people and creeps in the sense of a cultural citizenship,
young people, people with live voice culture backgrounds,
people not in the mainstream of society.
They have much to contribute to envisioning
possible futures in digital times, from their perspectives.
Thank you