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TRANSCRIPT
Online engagement with open
access images
Phil Edgar
Head of Collection Access
Museum of New Zealand Te Papa
“Im starting a Bee Spa”Stories from the people who use our digital
collections
Phil Edgar
Head of Collection Access
Museum of New Zealand Te Papa
Te Papa
Te Papa entrance, 2018. Photograph by Maarten Holl. Te Papa (105483)
TE PAPA - THE MUSEUM OF NEW ZEALAND /
THE COLLECTIONS
● Art● New Zealand History● Pacific Cultures● Taonga Maori● Photography● Archives● Natural History
TE PAPA - THE MUSEUM OF NEW ZEALAND /
THE COLLECTIONS
● 2.2 million collection items● 1,015,000 recorded in EMu● 230,000 with images
Collection Access
COLLECTION ACCESS GROUP /
TEAMS
● Collection Information● Collection Imaging● Library and Archives● Te Papa Press Publishing● Loans and Acquisitions
Online engagement with open
access images /
“Im starting a Bee Spa”Stories from the people who use our
digital collections
ENGAGEMENT WITH OPEN ACCESS IMAGES /
WHAT WE’LL COVER
1. The why, what and how 2. The visitor response to date3. Stories from visitors using our collection images4. What these stories tell us about our users5. How these stories might be used in the museum to help make
decisions around digitisation and access
OPEN ACCESS IMAGE PROGRAMME /
THE WHY !
● Launched in 2014● Goal: Feed new creativity, research, learning, innovation and
personal enjoyment● Empower our visitors, not stifle them● Mana Taonga - “share decision-making with iwi (tribes),
communities and individuals with respect to managing and understanding their taonga (treasures)
● Supported by government - NZGOAL
OPEN ACCESS IMAGE PROGRAMME /
THE WHAT !
● 81,500 images available to download from Collections Online● Around 50% of images available● 48,000 can be downloaded with unrestricted use● 33,500 downloaded with some restrictions (CC-BY-NC-ND)● All available as JPEG in highest resolution available ● 60-70% greater than 10 megapixel
OPEN ACCESS IMAGE PROGRAMME /
THE HOW !
OPEN ACCESS IMAGE PROGRAMME /
THE HOW!
● Images and copyright information stored in EMu
● Delivered to Collections Online via our Collections API
● Download button shows when EMu license information allows
● Short optional survey
○ What is your intended use for these images?○ Whats the web address?○ Could you tell us more?
● keen.io service gathers survey data
OPEN ACCESS IMAGE PROGRAMME /
THE RESPONSE
● 54,500 download events (growing each year)
● 8,000 have left some sort of comment describing a reason for
use (15%)
How visitors are using our collection images
I'm the descendant of the baby
in the picture so love having
this connection to history.”
The emigrants, 1844, London, by William Allsworth.
Purchased 1992 with New Zealand Lottery Grants
Board funds. Te Papa (1992-0022-1)
“I am the son of the painter and
carried out a web site to better do
to know his work. I was very
happy to discover this
reproduction on this site, and I
wish to make it be reproduced on the web site which I created.”
Chapeaux à Belle-île, 1957-58, by Roger Montané. Purchased
1959 with Mary Catherine Tewsley Bequest funds. CC BY-NC-
ND licence. Te Papa (1959-0028-5)
“We Live in Sarcodia Place,
Papamoa, Bay of Plenty. The
endemic Sarcodia species is
Montagneana. I would like to
display the seaweed as part of
a home art wall display”
Red seaweeds - Plate 81 - Sarcodia Montagneana,
Sarcodia Flabellata, by Nancy Adams CBE. Purchased 2007. © Te Papa. CC BY-NC-ND 4.0. Te Papa
(CA000892/001/0026)
“We own this shop today &
want to make postcards to give to customers.”
Hampden, circa 1907, Dunedin, by Muir & Moodie studio.
Te Papa (C.013542)
“I’m a Canadian who lived in
Wellington for just under 2
years. Every now and then on
my way home from work I
would stop by the Te Papa
Museum just to see this one
painting. I have never been
much for art but for some
reason this painting… is
“something else. I guess
maybe that’s the point of it all
(art).”
Wellington Harbour, 1894, Wellington, by James
Nairn. Gift of Miss Mary Newton, 1939. Te Papa
(1939-0009-2)
“Restoring this type of
camera.”
Imperial half plate camera, 1900s, Altrincham, by
Thornton-Pickard. Purchased 1999 with New Zealand Lottery Grants Board funds. CC BY-NC-ND 4.0. Te Papa
(GH007668)
“I am making a reference
photo collection for personal
use to compare to ferns of
Vanuatu.”
fern, Sticherus oceanicus (Kuhn) H.St.John, collected 29
Apr 2008, Nadroga Navosa Province, Nadrau District, Taladrau Ridge, near the Telecom repeater., Fiji. Field
Collection 2008. CC BY-NC-ND licence. Te Papa
(P022761)
“Since I became a chief I need
to have a better understanding
of Samoan culture”
O le Tusi FAALUPEGA o Samoa, 1981, Samoa, by Malua
Printing Press, T Faletoese. Gift of Safua Akeli, 2010. CC BY-NC-ND 4.0. Te Papa (FE012543)
“I'm studying the construction
and technical details of this
style of mocassin and loomed
quillwork”
Moccasins, circa 1750, maker unknown. Gift of The
Imperial Institute, 1955. CC BY-NC-ND 4.0. Te Papa (FE002998/3-4)
“I'm studying the cultural and
gender stereotypes portrayed
in Disney's Moana and
redesigning her (among other
Disney princesses researched)
in hopes of eliminating cultural
and gender stereotypes to the
best of my ability. I am using
this image to understand
Moana's costume and the
patterns that influenced its design.”
Siapo mamanu (tapa cloth), 1890s, Samoa, maker
unknown. Gift of Alexander Turnbull, 1913. Te Papa (FE000825)
“This high resolution image
allows me to see details I
normally will have to be in
person to view (Chain maille
patterns and stitching patterns
to name a few). Overall I wish
to use this for my studies in world history.”
Samurai armour (Sendai-do no Gusoku), 1735, Japan, by
Muneyoshi of the House of Myouchin. Acquisition history unknown. CC BY-NC-ND 4.0. Te Papa (FE010354)
“I'm identifying my feather mite collection from Venezuela”
Hemialges pilgrimi Mironov & Galloway, 2002, collected
14 April 1999, Tuahiwi, New Zealand. CC BY-NC-ND 4.0. Te Papa (AA.000177)
“I write RPG games and masks
feature heavily in the game so I
am looking at different masks from around the world.”
Mask, circa 1870, Torres Strait, maker unknown. Gift
of the Marquess of Normanby, 1875. CC BY-NC-ND 4.0. Te Papa (FE000530)
“I am a Hawaiian cultural
practitioner who weaves
E’ieE’ie”
`aumakua hulu manu Kūka`ilimoku (feathered image),
1700s, Hawaii, maker unknown. Gift of Lord St Oswald, 1912. CC BY-NC-ND 4.0. Te Papa (FE000325)
“Reference photo for heritage
architectural 3D modelling project.”
Wellington, 01 February 1909, Wellington, by Muir &
Moodie studio. Te Papa (O.026582)
“Structural engineering
research prior to reinstating
and strengthening.”
Trinity Church, Christchurch, 1880s, Dunedin, by
Burton Brothers studio. Te Papa (C.011551)
Christchurch Earthquake 22/02/11, Geof Wilson, CC BY-SA 2.0,https://www.flickr.com/photos/17211040@N00/5475190925/
“I am a Fiji from Bau, and I
would like to show my kids
how theirs forefathers used to travel.”
Model drua (sailing canoe), 2002, Fiji, by Alex Kennedy.
Commissioned 2002. © Te Papa. CC BY-NC-ND 4.0. Te Papa (FE011790)
“I teach an adult literacy and
numeracy programme. We
have been looking at the first
and second world wars as part
of learning about ANZAC Day.
I would like my students to
analyse war propaganda
posters and then design their own.”
Poster, 'The Empire Needs Men!', March 1915, United
Kingdom, by Arthur Wardle, Straker Brothers Ltd, Parliamentary Recruiting Committee. Gift of Department of
Defence, 1919. Te Papa (GH016383)
“To use in
teaching
mindfullness”
A family of giraffes, Cairo. From the album:
Photograph album of Major J.M. Rose, 1st NZEF,
1914-1915, Cairo, by Major John Rose. Te Papa
(O.040430)
Landscape, by Joseph Adam. Gift of the New Zealand
Academy of Fine Arts, 1936. Te Papa (1936-0012-275)
“To teach myself more about
the depiction of light in painting
to pass on to my school pupils”
Mokoia Island - Rotorua, circa 1887, Dunedin, by
Burton Brothers, maker unknown. Te Papa (O.034344)
“I am a Trustee of Mokoia
Island and we are always
interested in updating all
information we have on our
Motu.”
Female deity, circa 1800, Cook Islands, maker
unknown. Oldman Collection. Gift of the New Zealand Government, 1992. CC BY-NC-ND licence. Te Papa
(OL000370)
“I'd like to draw her.
I think she has interesting
lines.”
Sir William Jervois, 1887-1888, Wellington, by
Connolly and Company. Te Papa (D.000054)
“Themed dinner invitation”
“I'm working on a photobook
about cultural fascination with
cryptids and their role in
Northern American myth-
building.”
Colossal squid, Mesonychoteuthis hamiltoni Robson,
1925, collected 2008, Ross Sea, Antarctica. Gift of the Ministry of Fisheries, 2007. CC BY-NC-ND 4.0. Te
Papa (M.190318)
“I want to create a series of original prints (Lino cuts) based on these masks.”
Pare 'eva (Festival mask), circa 1906, Cook Islands,
maker unknown. Purchased 1907. CC BY-NC-ND 4.0. Te Papa (FE002323/1)
“Artwork for my music project -
under development.”
Sketch from the South Bank of the Rangitiki,
September 1841, Rangitikei, by Captain William
Mein Smith. Gift of Horace Fildes, 1937. Te Papa
(1992-0035-1833)
“I'm an avid cross stitcher and
I'd love to make this for my
house. Thank you!”
Needlework pattern, circa 1870-1900, Germany, by L W
Wittich. Acquisition details unknown. Te Papa (GH014487)
“I am researching plants
collected by Colenso, as I
intend making 3D facsimiles of them from plastic as artworks”
Olearia colensoi Hook.f., collected January 1886, Nelson,
Mt [Mount] Arthur., New Zealand. CC BY-NC-ND 4.0. Te Papa (SP031955)
“I'm building a 3d paper tui and
would like to use this image as
a reference for their plumage.”
Tui, Prosthemadera novaeseelandiae novaeseelandiae,
collected June 1994, Nelson, New Zealand. Gift of the Department of Conservation, 1987. CC BY-NC-ND 4.0. Te
Papa (OR.025218)
“Im a contemporary jeweller developing an exhibition for Avid Gallery in Wellington. My aim is to make beautiful wearable objects that are a provocation for change. My focus is to develop a range of mourning jewellery that commemorates the lost or endangered flora and fauna of New Zealand. I want to draw attention to the idea that although we mourn the loss of these precious taonga we have not learnt the necessary lessons. Our governing policies and prevailing cultural mindset privileges money above all else and we continue to undermine and destroy our
resources.”
Three huia (Heteralocha acutirostris), circa 1900, London,
by Johannes Keulemans. Purchased 1993 with New Zealand Lottery Grants Board funds. Te Papa (1993-
0029-6)
“custom cellphone case”
Hatteria Punctata. Plate 20. From the book The zoology
of the voyage of H.M.S. Erebus & Terror 1839 - 1843. Vol. 2 Reptiles, Fishes, Crustacea, Insects, Mollusca,
1845, by J Ford. Te Papa (RB001206/020a)
“We lost a lot of household items in the
Earthquakes here in Christchurch. The wall paper
copies will bridge a gap, making an interesting and vibrant wall picture in our re-built / restored home.”
Les Sauvages de la Mer Pacifique (The native peoples of
the Pacific Ocean), 1804-5, Mâcon, by Mr Jean-Gabriel Charvet, Mr Joseph Dufour. Purchased 2015 with Charles
Disney Art Trust funds. Te Papa (2015-0048-1)
“I highlight a different
invertebrate every day. I'm not
a photographer and couldn't
get to most of them anyway,
so I try to find creative
commons licensed photos
online. Monoplacophorans are
tough to find images and data
on. Really, I just like
invertebrates and want more
people to like them with me.”
Monoplacophoran, Micropilina wareni B. Marshall,
2006, collected 2 June 2003, West Norfolk Ridge, W
of Cape Reinga, New Zealand. CC BY-NC-ND 4.0.
Te Papa (M.171273)
USE OF COLLECTION IMAGES /
OVERVIEW OF VISITOR RESPONSE
● Personal connection ….learning….teaching...creativity...● People are interested in using our collections● Our collections are relevant to people in their day-to-day lives
beyond the museum● People use our collections in ways we could never have imagined
USE OF COLLECTION IMAGES /
OVERVIEW OF VISITOR RESPONSE
● Photography collection images downloaded the most (45% of download events)
● However, proportionate to the size of image collection available online:○ Fossil Vertebrates○ Pacific Cultures ○ Insects○ Birds○ Molluscs
USE OF COLLECTION IMAGES /
OVERVIEW OF VISITOR RESPONSE
● Category of Use○ Personal Research 19%○ Professional scientific research 19%○ Creative Project 16%○ Educating 12%○ Genealogy Research 7%○ Exhibition creation 3%○ Tertiary study (university / Polytechnic) 6%○ Professional research (humanities) 5%○ Secondary study (high school) 1%
The value of this information for the Museum
VALUE OF THIS INFORMATION FOR THE MUSEUM /
INTERNAL EDUCATION
● Help make the case for ongoing funding for digitisation and systems● Educate new staff and management about the value of this work● Help in the battle for open access - be even more open ● Motivate our curatorial staff!
VALUE OF THIS INFORMATION FOR THE MUSEUM /
SHOWING IMPACT
Audience Impact Model (AIM)
VALUE OF THIS INFORMATION FOR THE MUSEUM /
SHOWING IMPACT
10% 15% 17% 29% 6% 13% 5%
VALUE OF THIS INFORMATION FOR THE MUSEUM /
INFLUENCING DIGITISATION PRIORITIES
VALUE OF THIS INFORMATION FOR THE MUSEUM /
INFLUENCING DIGITISATION PRIORITIES
● Use the Audience Impact Model (AIM) in digitisation prioritisation
● Is it likely that the digitised collection:○ will have broad appeal? (e.g. attention caught)○ will create a sense of joy, interest of other emotion? (e.g.
reaction)○ will have a personal connection to audiences? (e.g.
connection)○ will enable personal insight or learning? (e.g. insight)○ will enable personal, group or national impact? (e.g. action)
VALUE OF THIS INFORMATION FOR THE MUSEUM /
INFLUENCING DIGITISATION DECISIONS
● Use insights taken from analysis of comments alongside data from Google Analytics and Hotjar survey
● Examples:○ Pacific Cultures collections - increase digitisation; create data
enhancement programme so more can be released open access○ Target Natural History collections - support research from afar○ Continue to make images available in highest resolution we can○ Programme to re-digitise “small images” we can see are popular ○ Digitising full series ○ Show the value as a way to open up more Taonga Maori
collections
Closing remarks
“I just started To Bee project
which is about bringing
connection between nature and
urban spaces. For that we bring
bee hives to New York City. We
are also working on getting
bees and humans closer to
each other by allowing people
to spend time with the bees in a
safe environment of a "bee spa"
where people can sleep with
the bees.”
Apis mellifera ligustica Spinola, 1806. CC BY-NC-ND 4.0.
Te Papa (AI.033457)
