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Presenter from the UCLA Library Digital Library Program (DLP) will share examples from his collaboration with a faculty member in a pilot to increase and deepen student engagement with holdings from the UCLA Library’s Digital Collections in curricular contexts, leveraging the concurrent adoption by the University of the new learning management system (LMS), Canvas/BruinLearn. Digital collections overseen by the DLP are presented predominantly in the IIIF (International Image Interoperability Framework), which enables reliable vertical integration of linked media content flows for students’ accessing, viewing, processing, and presenting high quality resources sustainably without file downloads, or uploads. Collaborating with administrators and staff from technical and instructional support units outside of the library, particularly the Canvas Transformation instructional design team, the DLP has designed, developed, and piloted a 3-unit modular template in the LMS to facilitate the use of digital collections to support undergraduate course curricula. The three units in the template direct students through three learning phases in their course, related to materials, methods, and products, respectively. This structure ensures adequate instructional attention to critical and proficiency-based learning goals, including information literacy, comparative analysis and annotation, and multimedia composition for public audiences. Pre-built modular units with integrated IIIF tools and learning activities are adapted in consultation with faculty to fit with course content, and presented in online and hybrid “flipped” instruction, making introductory through advanced digital project work scalable and manageable without necessitating substantial commitment of in-class instructional time.

A series of artistic works for the Ports Past and Present project was commissioned from twelve artists and writers in 2020. All these works can be explored on our Creative Connections PubPub, but this Exhibit showcases the possibilities of just one: Rob Jakes’s Sea of Stories, whose vivid and informative tiles can be linked to other project stories on the Ports, Past and Present website. To zoom around the murals and look at the tiles at your leisure, please follow the links below. A Sea of Stories, DOI: https://doi.org/10.7486/DRI.9k42c648g A Sea of Stories II, DOI: https://doi.org/10.7486/DRI.66839x16w For more information, you can read about Robert's work on his profile for Ports, Past and Present and his personal website. More Creative Connections here. This JSON was exported from Exhibit and is the script for a presentation linked via IIIF to the two deposited images in the Digital Repository of Ireland above.

This presentation will discuss the International Image Interoperability Framework (IIIF) through the lens of open access. This introduction to IIIF will highlight recent use cases and, through dynamic visual examples, participants will gain an understanding of the model and technological components behind IIIF and how it supports “openness."  The session will conclude with a short, hands-on demonstration of IIIF features with time for exploring IIIF and investigating further resources. Presenters will also discuss how UCLA Library is adopting IIIF in digital collections to reduce institutional barriers and promote re-use.Part of UCLA Library's annual International Open Access Week celebration.

We present a study of musical arrangements oif concert music for domestic performance through the lens of an English monthly music journal (The Harmonicon). The study is supported by digital annotation tooling built on IIIF, MEI and Linked Data.

This paper aims to elucidate the origin and metadata of land surveying maps, which meticulously document the landforms and features of various regions across mainland China between 1895 and 1944. Additionally, the digitization process of this research will be outlined. Furthermore, this paper will introduce the user interface of CHMap from two perspectives: firstly, CHMap as a platform for land survey maps, and secondly, CHMap as a tool for linking maps and images from disparate eras and sources.

We present our ongoing effort to develop Rekall-IIIF, a platform that aims at providing an extensible software base for all communities in need for multimedia and multimodal annotation tools. It is modular, Open Source and built on the IIIF standard (https://iiif.io/).

Mapping Color in HIstory compiles pigment analysis data from existing and on-going research on scientific analysis of pigments for historical research. As a digital humanities project at the intersection of art and science, multidisciplinary collaboration is at its heart. The paper will introduce the project and discuss methods and contributions.

Présentation donnée au Musée d'Art et d'Histoire de Genève dans le cadre de la table ronde "Ouvrir les musées au(x) numérique(s)" — organisée parNicola Carboni, Gabriella Lini et Marie Barras — le 26 juin 2023 lors du colloque Humanistica 2023. Lien vers la version en ligne :https://julsraemy.ch/prezi/humanistica2023-iiif-loud.html Lien vers la vidéo "démo de la plateforme LUX" (dia 15):https://julsraemy.ch/prezi/assets/lux-demo.webm

Présentation donnée dans le cadre des webinaires de formation "IIIF pour la mise en ligne des archives numérisées" à destination du réseau des services d'archives français (deuxième trimestre 2023)., Ce travail a bénéficié d'une aide de l'État gérée par l'Agence Nationale de la Recherche au titre du programme d'Investissements d'avenir intégré à France 2030 portant la référence ANR-21- ESRE-0005 (Biblissima+).

This paper addresses the concerns of the digital heritage field by setting out a series of recommendations for establishing a workflow for 3D objects, increasingly prevalent but still lacking a standardized process, in terms of long-term preservation and dissemination. We build our approach on interdisciplinary collaborations together with a comprehensive literature review. We provide a set of heuristics consisting of the following six components: data acquisition, data preservation, data description, data curation and processing, data dissemination, as well as data interoperability, analysis and exploration. Each component is supplemented by suggestions for standards and tools, which are either already common in 3D practices or represent a high potential component seeking consensus to formalize a 3D environment fit for the Humanities, such as efforts carried out by the International Image Interoperability Framework (IIIF). We then present a conceptual high-level 3D workflow which highly relies on standards adhering to the Linked Open Usable Data (LOUD) design principles.

Présentation par Kévin Roger du programme DIAMMtoIIIF développé par le cluster 6 Biblissima+ lors du colloque "Novel Approaches to Digital Codicology" (Studium) au Centre d'études supérieures de la Renaissance (Université de Tours), du 10 au 12 mai 2023., Ce travail a bénéficié d'une aide de l'État gérée par l'Agence Nationale de la Recherche au titre du programme d'Investissements d'avenir portant la référence « ANR-21-ESRE-0005 » (ÉquipEx Biblissima+)

Présentation donnée le 16 juin 2023 dans le cadre des Journées nationales du Patrimoine Écrit 2023 (Aix-en-Provence)., Ce travail a bénéficié d'une aide de l'État gérée par l'Agence Nationale de la Recherche au titre du programme d'Investissements d'avenir intégré à France 2030 portant la référence ANR-21- ESRE-0005 (Biblissima+).

The YCBA digital collections encompass approximately 120,00 objects of which over 48,000 have been digitized and 50,000 are in the public domain. It is core to the Center's mission to ensure the availability of these objects to our students, scholars, visitors, and the world. This presentation will trace our metadata and images, from its content management system to several online platforms, with a particular emphasis on one of those platforms called LUX, a novel linked data application supporting YCBA along with several other cultural heritage units at Yale. The presentation will outline aspects of LUX including the transformation process to linked data, authority reconciliation, leveraging linked data for semantic graph search, and lessons learned from the overall collaborative process.

In a Digital Library environment, we can define Digital cultural landscapes as "virtual ecosystems" in which digital cultural heritage subsets are related with entities such as people, places, events, fonds, etc., according to different visions and interpretations, in a pluralism generating new knowledge and opening up new perspectives. These virtual ecosystems today can be easily structured by cultural institutions, using a popular application such as DSpace, the world's most widely used open source Digital Asset Management System. Extending the DSpace data model by means of the Configurable Entities and enriching the platform with new features, indeed, it is possible to go beyond the traditional boundaries of the Digital libraries, structuring a complex system of relationships between entities, to be explored through networks and structured paths, building new narratives thanks to interdisciplinarity and the coexistence of different domains. The paper aims at illustrating, through sharing experiences and reflections from numerous Digital Library projects managed with DSpace, how this application can contribute to the modeling of new digital cultural landscapes.

Presentation outlining the details of implementing IIIF in InvenioRDM.

In the context of my PhD in Digital Humanities at the University of Basel (2021-2025), I investigate the semantics and interoperability dimensions of standards that adhere to the Linked Open Usable Data (LOUD) design principles, such as the International Image Interoperability Framework (IIIF) specifications and more specifically the IIIF Presentation API 3.0, Linked Art and the Web Annotation Data Model. This presentation is an opportunity to delve into one of my research questions which is related to the practices of IIIF and Linked Art by drawing attention to the social fabrics that constitute these communities notably from the standpoint of the Actor-Network Theory (ANT), a constructivist approach widely spread in Science and Technology Studies (STS) which should help me to better comprehend the roles and relationships of all actors in the implementation of LOUD standards within the cultural heritage domain and more broadly across the Digital Humanities. While the presentation, structured around two parts, is aimed at a general audience and accessible to all, more technical aspects are also discussed, for example to illustrate how IIIF APIs are developed and maintained. Firstly, I intend to identify the sociotechnical requirements for the establishment of community-driven initiatives, looking in particular at associations that are constituted around consensus-building and advocacy efforts. There are many good cases here, from the creation of community and technical specification groups, the relationship between the consortium and the community, the extent to which transparency plays a vital role, but also the relevance and impact of nonhuman actors such as data models, APIs, validators, as well as collaboratively developed software. This first part will also provide a means of testing the hypothesis that community-driven specifications, if they require significant commitment from all sides and are developed slowly, tend to be successful in the medium to long term. Secondly, I will explore how the implementation of IIIF has progressed within cultural heritage institutions and the potential of the framework in relation to scientific movements and principles, such as Open Science, Citizen Science, FAIRas well as CARE. I will give an overview of the various surveys conducted within the IIIF community in recent years and present the results of my own investigation determining where IIIF stands both conceptually and technically. This second part offers a chance to report on the four key initiatives (Advocacy & Leadership, Technical Development, Community Development, Membership & Value) of the strategic framework presented at the IIIF online event held in December 2022. More generally, this will be a platform to revisit and discuss over ten years of IIIF practice, the intersection with Linked Art for semantically conveying knowledge in an event-based manner and for metadata aggregation, and the Web Annotation Data Model for driving multi-layered assertions from observations to rich narratives, and to consider how LOUD situates itself in relation to communities maintaining such specifications. The presentation is available online athttps://julsraemy.ch/prezi/loud-social-fabrics-iiif.html

Présentation des avancées du cluster 6 lors des journées Biblissima+ 2023 au Campus Condorcet le 4 avril 2023., Ce travail a bénéficié d'une aide de l'État gérée par l'Agence Nationale de la Recherche au titre du programme d'Investissements d'avenir portant la référence « ANR-21-ESRE-0005 » (ÉquipEx Biblissima+)

Présentation du premier bilan des activités du cluster 1 de Biblissima+ lors des journées annuelles 2023 de Biblissima+ "Transmettre les textes anciens : défis et solutions numériques", au Campus Condorcet le 3 avril 2023.

Présentation de IIIF dans le portail FranceArchives faite dans le cadre du séminaire "IIIF et archives" organisé par Biblissima+ et le SIAF le jeudi 1er décembre 2022 au Campus Condorcet (journées annuelles du cluster 1 de Biblissima+), Ce travail a bénéficié d'une aide de l'État gérée par l'Agence Nationale de la Recherche au titre du programme d'Investissements d'avenir portant la référence ANR-21- ESRE-0005 (Biblissima+).

An increasing amount of research is being done in open collaboration with a crowd, with some of these projects being understood as Citizen Science which is characterised by openness in terms of participation and thus offers diverse perspectives from different fields of knowledge. Similar projects include Ajapaik [1] for crowdsourcing additional visual heritage metadata, Corley Explorer [2] for collecting stories, sMapshot [3] for georeferencing images, or Historypin [4] and notreHistoire.ch [5] for sharing local history. In our paper, we discuss how the digital domain extends the physical sustainability of analogue archives through communication with the public. Our interdisciplinary research project Participatory Knowledge Practices in Analogue and Digital Image Archives (PIA) (2021–2025) aims to increase the use of image-based research data by developing participatory tools and application programming interfaces (APIs). The goal is to encourage the collaborative production of knowledge by interested communities. Data that is used is inherently more sustainable. Our research is based on three cultural heritage collections of the Swiss Society for Folklore Studies: one focusing on scientific cartography (Atlas of Swiss Folklore, published from 1950 until 1995), a second from the estate of the photojournalist Ernst Brunner (1936–1979), and a third photographic collection owned by the Kreis Family (1860–1970). The web-based tools we have developed allow citizen scientists to edit, enrich and curate data through a graphical user interface (GUI). On the one hand, we enable crowdsourcing in the usual sense through moderated metadata enrichment [6,7]. On the other hand, we also go beyond by enabling users to create open-ended narratives by creating their own sub-collections, annotating resources, adding perspectives by uploading their content, and collaborating with other users by launching open “Calls for images”. By giving many different groups a voice in curating their collections, participation can democratise the decision-making power of archives [8]. Collaboratively designed standards build the base by which individuals and institutions can participate by having unmitigated access to the data. We rely, in particular, on Linked Open Usable Data (LOUD) standards [9] such as specifications from the International Image Interoperability Framework (IIIF), a community-driven initiative that has developed shared APIs based on agreed-upon design principles for representing and annotating digital resources [10]. Implementing IIIF APIs into our research is a way of communicating specific values about sharing and open data practices as well as improving the resilience of cultural heritage data. The software architecture is strictly separated into a headless backend that offers the potential to represent data in complex digital data models, various interfaces for communication, and a frontend framework that is capable of embedding tools for various types of applications. In a series of workshops and interviews with both academic and non-academic users, the project currently analyses the new demands of digital (and process-oriented) knowledge production. Within PIA, we develop an environment enabling a digital workflow that starts at the original printed source and ends where experts and citizens enrich the data with their knowledge. The close dialogue between humanities researchers, archivists, and experts in design and software development, ensures a highly applicable solution upon which to engage in constructive criticism. By the transfer of archival methodologies and processes from the analogue to the digital domain, we create a sustainable aura for stored data. The innovative GUI and the integration of APIs encourage collaboration with the public and, thus, a variety of open-ended interpretive perspectives. The sustainability of data and digital tools is closely related to the application; we go beyond open data by demonstrating the power of standardised APIs. The possibility to enrich data makes data sustainable and increases the attraction of digital infrastructures., This abstract is also documented in the DHNB 2023 Book of Abstracts (https://doi.org/10.5281/zenodo.7670464)., {"references":["[1] Kärberg, T., & Saarevet, K. (2016). Transforming User Knowledge into Archival Knowledge. D-Lib Magazine, 22(3/4). https://doi.org/10.1045/march2016-karberg","[2] Hinchcliffe, G., & Whitelaw, M. (2018). The Corley Explorer. State Library of Queensland. https://doi.org/10.25911/5f0c3898c50a8","[3] Graf, N. (2022, June 23). Georeferenzierung in sMapshot. Open knowledge, what's next? Opendata.ch/2022 Forum. https://doi.org/10.3929/ethz-b-000554517","[4] Baggett, M., & Gibbs, R. (2014). Historypin and Pinterest for Digital Collections: Measuring the Impact of Image-Based Social Tools on Discovery and Access. Journal of Library Administration, 54(1), 11–22. https://doi.org/10.1080/01930826.2014.893111","[5] Carron, A. (2018). Le crowdsourcing pour enrichir une plateforme d'archives participatives: notreHistoire.ch [Travail de bachelor, HES-SO University of Applied Sciences and Arts, Haute école de gestion de Genève]. https://sonar.ch/global/documents/314759","[6] Ridge, M. (2016). Making digital history: The impact of digitality on public participation and scholarly practices in historical research. PhD thesis The Open University. https://doi.org/10.21954/ou.ro.0000b1cf","[7] Ridge, M. (2017). Crowdsourcing our Cultural Heritage, Routledge. ISBN 9781138706170","[8] Franzoni, C., & Sauermann, H. (2014). Crowd science: The organization of scientific research in open collaborative projects. Research Policy, 43(1), 1–20. https://doi.org/10.1016/j.respol.2013.07.005","[9] Sanderson, R. (2018, May 15). Shout it Out: LOUD. EuropeanaTech Conference 2018, Rotterdam, the Netherlands. https://www.slideshare.net/Europeana/shout-it-out-loud-by-rob-sanderson-europeanatech-conference-2018","[10] Snydman, S., Sanderson, R., & Cramer, T. (2015). The International Image Interoperability Framework (IIIF): A community & technology approach for web-based images. Archiving Conference, 2015, 16–21. https://purl.stanford.edu/df650pk4327"]}

A presentation given during a guest lecture at the Big Data Science course from the University in Ghent on the 2nd of March 2023. The presentation introduces the Royal Library of Belgium (KBR) and cultural heritage. Furthermore, it provides many examples of FAIR and Open Data in the domain.

Présentation d'Eduard Frunzeanu lors des journées du cluster 2 (le 2 février 2023) concernant le portail Biblissima: difficultés de l’interopérabilité, fonctionnalités et première réflexion sur l’intégration des données matérielles dans ce portail, Ce travail a bénéficié d'une aide de l'État gérée par l'Agence Nationale de la Recherche au titre du programme d'Investissements d'avenir portant la référence« ANR-21-ESRE-0005 » (ÉquipEx Biblissima+)

Nous soulevons des interrogations et présentons un certain nombre de défis et d'opportunités liés à la conception d'un processus permettant de gérer les images en trois dimensions (3D), de la préservation à long terme à leur dissémination, selon la perspective du DaSCH, une infrastructure nationale suisse pour les données de la recherche en sciences humaines. Pour établir ce processus, nous avons conçus des lignes directrices tenant particulièrementcompte du travail d'interopérabilité effectué par la communauté IIIF sur la 3D. Lien vers la publication associée parue au seinduRecueil des communications du 4e colloque Humanistica:https://hal.science/hal-04099506