Discover and read the best of Twitter Threads about #IIIF
Most recents (7)
Good morning, @amy_jsolomons here ready for my #TwitterTakeover. My PhD with @LivUniHistory explores 18th c. female readers in @NT_Libraries. For the past 3 months I’ve been on a @britishlibrary PhD placement with @BL_MadeDigital. 
I have been working with @BL_MadeDigital to make more of the Library’s digitised content freely available online. I’ve also been promoting the Evanion collection via blogs and an online Exhibit.
Join me today to find out more! 👇bl.uk/projects/herit…
Join me today to find out more! 👇bl.uk/projects/herit…
My first week involved training on the digitisation workflow used in the Library. Projects go through conservation before being digitised. We then perform image quality checks, gather metadata and ingest the images for display in the @universalviewer in #IIIF.
The National Gallery of Art now has a public #OpenData program: Most of the NGA's collection data is now on Github and released under a CC0 license!
👩💻🧑💻👨💻
#DigitalArtHistory #DigSMus #CulturalAnalytics #CC0 @medievalben @ngadc
nga.gov/open-access-im…
👩💻🧑💻👨💻
#DigitalArtHistory #DigSMus #CulturalAnalytics #CC0 @medievalben @ngadc
nga.gov/open-access-im…
Now let's see: 1st there is a documentation as docx (thanks), then a folder of sql tables (interesting) and one with zipped csv files. Let's pick objects.csv and see what's inside...
@janecalexander
github.com/NationalGaller…
@janecalexander
github.com/NationalGaller…
Ah, there are 28 columns (properties) with 135,715 rows (objects). Great!
Creation date is split in begin and end date, the oldest -490, i.e. b.c. Median: 1933, Mean: 1868.
"accessioned" is always "1".
@nealstimler
Creation date is split in begin and end date, the oldest -490, i.e. b.c. Median: 1933, Mean: 1868.
"accessioned" is always "1".
@nealstimler
🔴 Responsabilité numérique : l'exemple des #musées 🏛️
Je publie aujourd'hui une étude pour analyser l'état du web muséal français autour des enjeux d'#opendata, de #privacy, d'#a11y et d'#ecoconception.
Thread à dérouler ⬇️ 1/33
Je publie aujourd'hui une étude pour analyser l'état du web muséal français autour des enjeux d'#opendata, de #privacy, d'#a11y et d'#ecoconception.
Thread à dérouler ⬇️ 1/33
tl;dr : déroulez le thread ;
📰 Sinon, l'étude est accessible ici : musees-responsables.karl-pineau.fr
📊 Les données sont ici : docs.google.com/spreadsheets/d… (eh oui, #opendata oblige)
Tout est sous licence @creativecommons, n'hésitez pas à la réutiliser. 2/X
📰 Sinon, l'étude est accessible ici : musees-responsables.karl-pineau.fr
📊 Les données sont ici : docs.google.com/spreadsheets/d… (eh oui, #opendata oblige)
Tout est sous licence @creativecommons, n'hésitez pas à la réutiliser. 2/X
❔ Partie 1 - Méthode - Quel périmètre d'analyse ?
Je me suis intéressé aux 100 #musées les plus fréquentés en France, en 2018. En repartant des données en #opendata du @MinistereCC.
Si on soustrait quelques doublons de sites, on obtient 89 sites web étudiés.
3/X
Je me suis intéressé aux 100 #musées les plus fréquentés en France, en 2018. En repartant des données en #opendata du @MinistereCC.
Si on soustrait quelques doublons de sites, on obtient 89 sites web étudiés.
3/X
Hi! I’m the Professor of Digital Cultural Heritage at @edinburghuni, & today I’ll be talking about the digitisation of Gallery, Library, Archive & Museum (GLAM) material in the context of #Covid19, & how that intersects with #digitalhumanities research interests #DHgoesVIRAL 1/20
First, I want to acknowledge how stressful a time this is for all of us. Also the work that went into the sudden shut down of our memory institutions. More than ever, we are all dependent on digital, & the digitisation of all of society #DHgoesVIRAL 2/20
We’re dependent on cultural content for our wellbeing, as well as our work. It has been wonderful to see the GLAM sector rise to the challenge of content creation, & dissemination, communicating with a vastly increased digital audience #DHgoesVIRAL 3/20
(1/21) Do you work with digitized manuscripts? I have 350 pages to help you out with that! "Among Digitized Manuscripts", published with @BrillPublishing. It’s out now! Download the book in open access here brill.com/downloadpdf/ti… More information: lwcvl.com/Among
(2/21) Manuscripts have been digitized in large numbers. Technology has become easy to learn. It is time to capitalize on these opportunities and accept ‘digital manuscript studies’ as a normal, yes necessary, part of our work. This book is a great start for that!
(3/21) It introduces a conceptual and practical toolbox for working with digitized manuscripts, starting with establishing a vocabulary to talk about the (quality of the) digital materiality of them and ending with explaining Python and OpenCV to do automated image analysis.
The Bodleian holds one of only four surviving 14th-century copies of Ibn al-Muqaffaʻ's Kitāb Kalīlah wa-Dimnah, an Arabic translation of Sanskrit fables. "Richly illustrated" is an understatement. digital.bodleian.ox.ac.uk/inquire/p/860d… [MS. Pococke 400]
The Bavarian State Library have digitized their copy as well, and it's available via #IIIF at @WDLorg, meaning you can use Mirador to compare lions. wdl.org/en/item/8933/ [BSB Cod. arab. 616] #FolkloreThursday
Don't know how to use Mirador? We made a video. #IIIF
Digital cultural heritage is not digital resources imbued with cultural value, but networked access to usable digital representations of tangible, intangible and natural cultural heritage. Digital is a means, not an end.
The intrinsic value of the representation is from the heritage, with a limiting factor of its fitness-for-purpose or usability. The actual value is only realized through interaction, and resulting experiential impact.
The impact comes both from the digital and the heritage resource. Digital is the epitome of economic non-rivalrous good, whereas heritage is the opposite as experiential scarcity adds emotional attachment and value.
