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1 ECP-2008-DILI MIMO MIMO Final Powerpoint Presentation Deliverable number D6.13 Dissemination level Public Delivery date 31st August 2011 Status Final Author(s) Norman Rodger (UEDIN) econtentplus This project is funded under the econtentplus programme 1, a multiannual Community programme to make digital content in Europe more accessible, usable and exploitable. 1 OJ L 79, , p. 1. Norman Rodger Page 1 of 7 14/09/2011

2 Final Powerpoint Presentation Introduction The final presentation on MIMO, within the life of the project, was made at two sessions of the Annual Conference of CIMCIM, the International Committee of Musical Instrument Museums and Collections: the Cité de la musique in Paris on 29 th August and the Musical Instrument Museum in Brussels on 1 st September. In Paris, a general presentation on MIMO was given by Dr. John Scally (UEDIN), the Project Director. This was followed by three further sessions on Work Package 1 by Frank P. Bär (GNM), Work Package 2 by Rodolphe Bailly (CM) and Adding Collections to MIMO by Norman Rodger, Project Manager (UEDIN). In Brussels, following condensed versions of all of the above, a longer session was given on the work of Work Package 3, by Patrice Verrier (CM) and Margaret Birley (HML). This PowerPoint amalgamates the presentations given in Paris (with the exception of the final session) with the WP3 session given in Brussels. Slides are attached as an Appendix. Notes from John Scally s presentation follow this introduction. The full PowerPoint, with notes, is attached as a CD appendix. The session on Adding Collections to MIMO was based on the leaflet produced for the conference and a copy of that is also attached as an Appendix. Norman Rodger Page 2 of 7 14/09/2011

3 The MIMO Project Dr. John Scally, University of Edinburgh Slide 1 Introduction Good afternoon, those of you who attended the CIMCIM conference in September 2009 will recall that we gave a presentation on the MIMO project outlining how it came about and what we hoped to achieve. We ended that presentation by saying that this was what we planned to do and hoped that we would be in a position to return to CIMCIM at the end of the project and tell you what we actually did do. So, the MIMO project ends in just over two days, we are now at that point and over the next fifteen minutes I will give you an overview of the work we have done over the last two years and where we go from here. Slide 2 Background For those of you who are not familiar with what MIMO is about, I ll start with a little background, outlining how the project came about and what we set out to achieve. The original aim for MIMO was to create a project that built on the digital content which museums already held, add new material and create a portal that would significantly improve access to museum collections of musical instruments. With the launch of the EUROPEANA website as a single point of access for European cultural objects, it became apparent that offering our content to the public via that route would not only negate the need for a specific MIMO portal but would also contribute to a larger European cultural initiative. Slide 3 We submitted our proposal for funding in June 2008 through the European Commission s econtentplus programme and provisional approval granted in December Slide 4 Following some further modifications, the MIMO project was formally launched on 1st September, 2009 and will end this Wednesday, 31st August, 2001 We had a total budget of just over 3m euros, with 50% coming from the European Commission and the balance from the project partners. Norman Rodger Page 3 of 7 14/09/2011

4 Slide 5 The project consortium is made up of 11 major musical instrument museums - nine of whom are delivering content - and is led by the University of Edinburgh. The partners are drawn from 6 European countries - 3 in Germany, 2 in the UK, 2 in Belgium, 2 in Italy and 1 each in France and Sweden. At the start of the project there was no central resource for anyone wishing to explore the collections of these museums online, nor was there any common standard for the online presentation of musical instruments. Slide 6 This project sought to address that problem by harvesting the digital content of nine of the partner museums from their collection databases and making this available to all through EUROPEANA. This will include: Slide 7 45,000 images of instruments, with descriptive metadata, thus making available 40% of Europe s and 16% of the world s heritage of historic musical instruments in public possession. Slide 8 1,800 digital audio files giving an impression of the instruments sound Slide video clips. Slide 10 In addition, the project also worked on improving multilingual access to such content through the delivery of dictionaries for controlled vocabularies for musical instruments databases. This was to ensure consistency of classification for the musical instruments in the 6 languages of the partnership - Dutch, English, French, German, Italian and Swedish. Slide 11 To do this we split the work into six distinct areas or Work Packages (to use EC jargon) with a different member of the consortium taking responsibility for leading each section. There was, of course, some overlap and interdependency between them. The six areas were: 1. Digitisation 2. OAI Harvesting, Database Development and EUROPEANA Interoperability 3. Thesauri and Classification 4. Project Management 5. Assessment and Evaluation 6. Dissemination Norman Rodger Page 4 of 7 14/09/2011

5 As you will have seen from the programme, there are specific presentations on three of these key areas - Work Packages 1 and 2 follow this afternoon, with the session on Work Package 3 following in Brussels on Thursday. So I won t go into any detail about their work in this session. Instead I will focus on what we have achieved and where we go next. Slide 12 Where are we now? As we speak, work is still continuing to finish off the work of digitising some of the collections and in one museum this will continue post project to ensure that targets are met. We currently have around 43,000 instruments digitised, slightly short of the original target figure but close enough to be deemed successful. Frank will go into more detail on this in his WP1 presentation later but the reasons for the shortfall are all valid and are principally the result of lost instruments, i.e. instruments which appear on museums inventories but which went missing during WW2 or because, at the start of the project, museums did not have sufficiently up to date inventory systems in place and therefore submitted inaccurate estimates of the extent of their collections. Slide 13 A key outcome of Work Package 1 has been the production of a document which sets out standards for photographing musical instruments and the digitisation of sound and video files, as well as analogue images. This document, the MIMO Digitisation Standard, is now publicly available and it is our hope that it will eventually be adopted as the worldwide standard by the global musical instrument community. The document has already been extensively used as a guide by photographers on the MIMO project and as a result was regularly enhanced throughout the life of the project, adding further refinements, concerning more specific types of instruments, sharing technical solutions developed for photographing particular types of instruments and contributing these to a pool of technical tips in order to collate examples of best practice. Slide 14 All our records are now visible in MIMO-DB, the technical platform built during the project in order to manage the metadata harvesting and enrichment. Rodolphe will describe this in more detail later in his presentation on WP2 but, to summarise, MIMO-DB is a powerful tool which allows the user to explore all our records describing the musical instruments, with immediate access to all the digital resources illustrating an instrument - mainly images but also audio files and/or video recordings. MIMO DB also highlights the work done by WP3 on Vocabulary and Thesaurus Searches based on instrument names are fully multilingual. When specifying the name of an instrument in one of the six languages of the project (Dutch, English, French, German, Italian and Swedish), the user can retrieve all the records related to this instrument name whatever the language in which the content of each record is written. Searches can also be based on other criteria such as instrument makers, geographical origin or date of the making, institutions of custody, data providers, or Hornbostel Sachs classification. Norman Rodger Page 5 of 7 14/09/2011

6 Slide 15 But what about Europeana? Throughout the project this has been the focus of our online access. Unfortunately, no records are yet visible in Europeana but this is, I should stress, no fault of the project. The main reason for this is that midway through MIMO, Europeana changed its XML Schema from ESE (European Semantic Elements) to EDM (the European Data Model). This change has affected other European projects too and, for us, resulted in a significant additional work for the team here in Paris, having to change our data mapping from one system to another. Nevertheless, we are ready to go at this end and the MIMO data will be the first EDM set to be ingested in Europeana, as soon as their ingestion chain gets ready for it. So this is quite a milestone! We still don t have a definite date confirming when this will happen but we are confident that it will be within the next few weeks. Slide 16 Sustainability We also had to make sure that, once this content does go live, it remains visible after the end of the project. In the short term, we made it our objective to arrive at a position where we could guarantee continued exposure to our digital content, via MIMO-DB and Europeana, for a minimum period of 5 years. We achieved this through the development of a subscription based sustainability model, which formalised an agreement between the nine contributing partners of the MIMO project commits them to maintain the databases and harvesting systems established during the life of the MIMO project in order to provide ongoing content to Europeana for a minimum period of five years after the conclusion of the current project. Slide 17 MIMO Toolkit Beyond this, we looked at ways of bringing new content from other museums into the MIMO aggregator. So, one of the final tasks of the project was the development of a MIMO Toolkit, which provides details of what is required from other museums wishing to contribute digital content to Europeana via MIMO-DB. This will be discussed in more detail at the final session this afternoon and you should also have a leaflet summarising some of the key pints in your conference pack. Slide 18 Over the life of the project we have undertaken a range of dissemination activities to try to raise awareness of our activities both in person and online. These have included many talks and presentations in countries all over the world, radio and TV interviews, and printed articles. We have also had considerable interest via the project website, which has had over 23, 000 unique visitors from 154 different countries and the Facebook Page, which has Norman Rodger Page 6 of 7 14/09/2011

7 had over 200,000 posts viewed and which grew to almost 900 regular users over an 18 month period. Slide 19 Finally, as a precursor to our content going live, the MIMO partners, in association with Europeana have recently developed a Virtual Exhibition this was launched at the end of June this year and can be accessed via the Europeana website. The exhibition focuses on six themes, each offering a selection of instruments, with high quality, zoom-able images, descriptions and some sound clips. Again, this has been produced in the six languages of the MIMO partners. Slide 20 So, to close we are almost the end of the MIMO project it has been a lot of work with, inevitably, some ups and downs along the way but I think it s fair to say that all the partners that have been involved in the project have found it to be a tremendously rewarding experience, learning lessons which have benefited their own institutions but which will also benefit the musical community. The project has established the mechanisms that enabled the initial partnership to expose its digital content and we now want make these available to other museums wishing to add their own collections. In the first instance material can be added to the MIMO database (MIMO-DB) - and content from European collections will continue to be publicly available through Europeana - but longer term we now see the need for a specific MIMO portal which we intend will become the single access point for information on public collections of musical instruments for the entire world. With that in mind we are actively seeking new museums to contribute digital content, not just from with Europe but around the globe. We believe that this represents a unique opportunity for museums to pull their resources and contribute to a truly world wide initiative which will have long term benefits to anyone with an interest in collections of musical instruments. So if you are interested in becoming involved, please come to the sessions this afternoon. Thank you Norman Rodger Page 7 of 7 14/09/2011

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