A public sector client announced last week that working from home will be their default until September 1st for certain, and maybe until January 1st. I can imagine why, there is no real way to house their 1600 staff under distancing guidelines, and the staff restaurant (that usually caters to some 1200 people in 90 minutes each day) has no real way of accomodating people for lunch in meaningful numbers. Three similar organisations in a different part of the country announced they would keep working from home until January.

I wonder how this may shift modes of working over time, now that centralised working is replaced by distributed working. When will public sector organisations realise they now have eyes and ears on the ground everywhere in their area, and put that to good use? In our experience not ‘going outside’ for real stories and feedback from directly involved people often reduces the quality of choices and decisions made, as observations get replaced by assumptions. This is true for any type of larger organisation I think, but now we all of a sudden have turned them into a distributed network.

If you’re in a larger organisation working from home, do you have a notion of where all your people are, and is that geographical spread a potential instrument in your work?

The Britsh Museum is chock full of fascinating artefacts, even if the sourcing of some of those artefacts means their ownership of them is disputed. While that sourcing happened in different times perhaps (which doesn’t mean our current perspective can’t be different), in these times echoes of that can be heard in the form of digital appropriation.

Earlier this week the British Museum announced they had revamped their website. Part of the revamp is providing more and better digital images of artefacts. Digitising artefacts well is a lot of work and effort, and making them available to the public is very laudable. Especially as the British Museum says, since we’re now only capable of visiting from home.

Director Hartwig Fischer in the museum’s communication is quoted saying

We hope that these important objects can provide inspiration, reflection or even just quiet moments of distraction during this difficult time

Inspiration, cool. Let’s do. Jason Kottke wrote about it and posted some beautiful images.
I went to the BM’s site as well and browsed. Then I came across this artefact:

Screenshot of the British Museum showing a 1725 etching, with copyright claim

I didn’t know the British Museum had a print of the water gates in my hometown!

Then I noticed an oddity: a ‘(c) Trustees of the British Museum’ statement on it. I have the image (remixed with a Mondriaan painting, by E after my idea) on my wall. This as the etching by A. Rademaker is also in the collection of the Rijksmuseum, and they too have digitised their collection and made it available. At the Rijksmuseum that image however is public domain.

The British Museum also allows downloading images. For ‘my’ image at least that download is of distinctly lower resolution than the Rijksmuseum download (the BM’s download is 365Kb, the Rijks’ 2.8MB). Here you see them side by side, BM on the left, Rijks on the right.

‘high-ish’ res BM image on the left, higher res Rijks image on the right

Moving on from inspiration to reflection then, as per the director’s words: What’s up with that copyright claim? The etching itself, being from the 18th century, is clearly in the public domain. Are they saying making a photo of an artefact is creating a new copyright? As Cory Doctorow also noted, that is a wild claim to make. Making a photo of an artefact to show just that artefact is not considered a creative act, and thus not protected under copyright rules, in the UK (PDF) and the EU.

The actual licensing terms attached by the British Museum to a downloaded image are Creative Commons BY NC SA, meaning only non-commercial use is allowed, if the results are shared under the same conditions and the British Museum is mentioned as the source. This is not an open license. It means that Jason Kottke who, inspired as hoped by the BM’s director, put images on his site is in breach of this license, as he also sollicits membership payments through his blog. Appropriate would be a CC0 license, or public domain mark. Claiming copyright on an image that actually is in the public domain because its subject matter is in the public domain on the other hand is digital appropriation.

A second question is why would the British Museum do this? A clue is the information shown when you want to download an image:

BM allows download for non-commercial use, but for commercial use requires a request

The distinction between commercial and non-commercial forms of use, I suspect, may have something to do with the effort of digitisation. Digitisation is generally very costly. Museums fall under the EU PSI Directive on the re-use of public information. In that Directive a possibility exists to temporarily make the exploitation of digitised material exclusive to a certain party as reward for help with the digitisation. Under this exemption tech companies can enter into agreements with museums and libraries to digitise their collections and have a handful of years before the results become generally available to the public. The fact that the BM publishes some images for the general public, at lower quality, is another potential clue. It’s my speculation, but it may mean that the BM tries to provide at least some publicly available material, while the exclusive exploitation rights for whoever is paying for the digitisation still exist. In other countries we’ve seen that material isn’t published until those rights expire, and it would indeed be a useful step to find a way of providing at least some access.

However, none of that has any relation to copyright, as the digitisation itself does not create new rights to license. It would I think better be solved by providing lower quality material as public domain material, while higher quality material is made available as part of the exclusive exploitation deal. If this is what is happening, again it’s just my assumption, using a restrictive CC license is the wrong instrument. If it has nothing to do with the digitisation process and surrounding contracts, but only to create revenue for the museum, then using Creative Commons licenses to do so is just plain wrong and digital appropriation that should be corrected.

Ever since the Dutch government uttered the words “herd immunity” after the UK gov framed it as meaning doing mostly nothing, internationally the Netherlands is mentioned in lists of countries that are supposedly taking a wait and see approach. That isn’t what’s happening of course. The country is in lock-down all but name, but as is the Dutch way it is implemented as an appeal for collaboration and solidarity (and people are indeed complying), and isn’t implemented heavy handed from the top down yet. It doesn’t mean that in the background there are no emergency decrees signed allowing the enforcement of every measure by police and even military police (it’s just that these are done on regional level, signed by the mayors in that region, so it isn’t on the radar of most people these things have been signed.) It also doesn’t mean no enforcement in practice.

One such example is Tomas Pueyo ‘Hammer and Dance’ piece. I’d have commented there, but it needed jumping to all kinds of hoops to be allowed to comment on Medium, and posting it here anyway is easier for future reference. He writes “Some countries, like France, Spain or Philippines, have since ordered heavy lockdowns. Others, like the US, UK, Switzerland or Netherlands, have dragged their feet, hesitantly venturing into social distancing measures.” “Governments around the world today, including some such as the US, the UK, Switzerland or Netherlands have so far chosen the mitigation path.

The French and Dutch measures are actually much on the same level, only with different cultural accents on the role of central authority, and from what I can see the same is true for Switzerland.

The Netherlands isn’t following a ‘mitigation strategy’ in the ‘weak tea’ meaning in the article as such, but doing much as Pueyo’s article suggests. Bring down the transmission rate, and then release and tighten the measures for the coming months to keep the transmission rate low.

Two quotes from the director of the infectious disease unit (RIVM) who is in charge from an interview (in Dutch).
Based on infection models we use, we estimate the effectiveness of interventions. If we add up the current interventions we conclude from those models that the transmission rate is reduced sufficiently. That is the most important goal.. (Dutch: “Op grond van de infectiemodellen die we hanteren, kunnen we het effect van de interventies inschatten. Als we de huidige interventies optellen, volgt uit die modellen dat de overdracht van het virus voldoende teruggaat om de verdere toename te doen afnemen. Dat is het belangrijkste doel,….”)

…That is why we must align everything, and next to interventions research their actual impacts. It could be we can reduce measures, and later need to introduce them again. It could also be we’ll introduce additional measures, it can go both ways. (Dutch: Daarom moeten we alles zorgvuldig afstemmen op elkaar en naast interventies ook onderzoek doen naar het effect daarvan. Het zou kunnen dat maatregelen versoepeld worden en later weer worden ingevoerd. Het zou ook kunnen dat er dan nog éxtra maatregelen volgen, het kan beide kanten op.”)

Actual behaviour of people will determine this mostly he adds. In short, it’s the ‘hammer and dance’ suggested in the linked article.

In conclusion, what you assume to see from further afield based on choice of words (‘herd immunity’ e.g.), headlines and your own cultural reference points, isn’t necessarily what’s happening on the ground. The same is true here inside the country, many people are making very different assumptions based on what they perceive the RIVM and government doing or not doing. Part of it is that the RIVM isn’t very pro-active in getting information and data out there to put it mildly. The interviews with its director in the past week have provided me with much more clues and understanding of what they are working on than their press communiques or their own website. I assume the director has better things to do than give interviews, so there’s room for much more pro-active disclosure and transparency, as it would free up his time at least. RIVM doesn’t have a knowledge, data or decisiveness issue, they’re clearly following every bit of available science, it has a communication and transparency issue. Key question for me is what we can do to assist RIVM in taking on their data publication and communication needs.

Morgen 10 januari is het Publiek Domein Dag. De dag waarop het creatieve werk dat in het publiek domein komt gevierd wordt. 70 jaar nadat een auteur is overleden, wordt op de eerstvolgende 1 januari, haar of zijn werk onderdeel van publiek domein. Vanaf dan mag het werk vrij worden hergebruikt. Dit jaar is per 1 januari het werk van iedereen die in 1949 is overleden in het publiek domein gekomen.

De Vereniging Open Nederland (waarvan ik bestuurslid ben), organiseert de jaarlijkse Publiek Domein Dag waarin terug wordt gekeken op de auteurs en makers wier werk vanaf nu onderdeel is van onze gezamenlijke culturele erfgoed. Daarbij wordt met de erfgoed-sector nauw samen gewerkt. Onze partners zijn de Koninklijke Bibliotheek, EYE Filminstituut Nederland, Het Nederlands Instituut voor Beeld en Geluid, en Wikimedia Nederland.

Publiek Domein Dag vindt 10 januari plaats van 10:00 tot 17:00 bij het Nederlands Instituut voor Beeld en Geluid. Alle details over het programma, locatie en inschrijving vind je op publiekdomeindag.nl.

Hieronder twee film-affiches gemaakt door graficus Frans Bosen, die in november 1949 overleed. Zijn werk is dus per 1 januari 2020 in het publiek domein gekomen, en staat op het programma op de Publiek Domein Dag 2020.

Salammbo by Frans Bosen Oranje Hein by Frans Bosen

I feel we have an obligation to re-use. The best way to keep things from humanity’s pool of cultural artefacts and knowledge available is by re-using and remixing them.

Most of my work is in ensuring more material becomes available for everyone to use. Such as open government data to enable socio-economic impact, with my company, or to allow for more democratic control in my role as chairman of the Open State Foundation. Such as creative output, in the form of images, text and music, in my role as board member of Open Nederland, the member organisation of the Dutch Creative Commons Chapter.

There already is a plethora of material available under open licenses. And while my work is all about adding to that pile and encouraging others to make good use of that, I find that personally I could be more active to re-use the cornucopia of human cultural expression and knowledge that is out there. In this blog I often re-use Creative Commons licensed images from others, and started adding images to my weekly reviews with that specific intent. But I could be much more aware of the opportunities re-usable cultural artefacts allow.

Last May, Elmine’s birthday gift to me was a set of 5 A3 sized photo frames, to fill up the mostly empty white walls of my home office. For months I didn’t get to actually selecting images to put in those frames. Browsed through the 25k of images I have on Flickr myself but couldn’t choose. Then I started playing with some existing images in the public domain or released with an open license, developed some ideas, but still couldn’t choose. Elmine broke the deadlock last week when she suggested to treat them as temporary objects. It isn’t about choosing the perfect images for my walls, it’s about choosing a few good-enough ones that speak to me at this moment in time. Our A3 printer will patiently spit out new images if I so choose.

So yesterday I decided on 5 images. Today Elmine helped me prepare the images for printing, as she has all the right software tools for it, and I don’t. And now they’re on the wall, joining two images already there.

Here are the images and their background as open cultural artefacts.

20191223_142116

The eastern wall presents three images. The leftmost one was already there, a photo of me drinking coffee in Lucca, Tuscany in the summer of 2015. A month of healing with the two of us in a year of personal losses. Elmine took this picture and she publishes most of her pictures with a Creative Commons license that allows non-commercial re-use. In general Flickr is a resource to find great images with an open license.

In the middle is the most famous footprint not on this earth. It’s the imprint of Buzz Aldrin’s boot on the moon surface, taken during Apollo 11 in July 1969. NASA has published and is publishing a wide range of images of all their missions, all freely re-usable. This includes the set of Apollo 11 images, with this footprint. I selected this because it shows how even the most amazing human endeavour ultimately is a sequence of single steps.

On the right is a remix of two images. The first image shows our city’s water-gate, Koppelpoort (1425) around 1640. The image is an illustration made by A. Rademaker for a book dated 1727-1733. The Amsterdam Rijksmuseum is putting tremendous effort in digitising all the artefacts in their collection at high resolution and making those images available for free re-use. They also organise design competitions to stimulate people to come up with novel forms of re-use of the art works in their collection. As an overlay I added the iconic primary colored planes of a Mondriaan painting. Piet Mondriaan was born in our city, where his childhood home is now a museum of his work. As Mondriaan died in 1944, his work entered the public domain in 2015 and is freely re-usable. The image thus combines the medieval and modern history of Amersfoort.

Those primary colors are continued in the images on the southern wall of my office, the one my desk is facing.

20191223_141622

On the left is an adapted page of Lego’s US patent. Patents are public documents (you get commercial protection for your invention in exchange for publishing how it works and thus adding to the world’s pool of knowledge). Patent offices publish patents and Google makes them searchable. So you can search for your favourite invention, whether it’s a Lego brick, a moonlander, a pepper grinder or Apple’s original iPod interface, and take a page from the patent to hang on your wall. Elmine added primary colors to the bricks in the patent illustration on my request.

In the middle is the photo I took last week visiting the Groninger Museum, with both E and Y in front of a giant head in primary colors, in the Alessandro Mendini exhibit. The image is available under a Creative Commons license (for non-commercial and equally shared re-use).

The rightmost photo was already there, a beautiful gift from Cees Elzenga, a photographer and photo journalist, who was our neighbour in Enschede. It is a photo in the rain, at night, near Brandenburger Tor in Berlin, and it strongly evokes the gloom I encountered visiting the still divided city in the second half of the ’80s. This is the one image on the wall that is not openly licensed.

One image is still missing, as I loaned one of the photo frames Elmine gave me to Y temporarily, until her own pin-board arrives in a few days. She uses it for two photos her grandmother sent her, after visiting the Unseen photo exhibit in Amsterdam with her. When it returns I will use the final frame for another NASA image, that of an ‘earth rise’ on the moon, similar to what I use as a background image on my Mastodon (and Twitter) profile page.

As my friend Peter says, we have an obligation to explain. So others may follow in our footsteps of tinkering and creating.

I feel we also have an obligation to re-use. The best way to keep things from humanity’s pool of cultural artefacts and knowledge available is by re-using and remixing them. What gets used keeps meaning and value, will not be forgotten. My office walls now make a tiny contribution to that.

A few days ago I took a look at my LinkedIn data, and realised while writing it that I exported my Facebook data in the fall of 2017 when I first strongly reduced and then later closed and deleted my original October 2006 account (I do keep a new account with limited interaction and much fewer contacts). The Facebook data also has a list of contacts with the date they became a contact.

From that export I therefore created the same data I did for LinkedIn: the number of added contacts per year and its gender balance, and the cumulative number of contacts and its gender balance. This in response to Rick Klau’s description of his ‘do-it-yourself contact management‘ Between 1 October 2006 and 30 October 2017 I added some 650 people on FB, of which 161 women (25%)
Those numbers are even more out of balance than with LinkedIn, although in recent years it improved in much the same way per year as on LinkedIn, though it comes out slightly below LinkedIn for the total. I suspect for Facebook a social aspect is in play more than on LinkedIn: for a larger social distance I suspect it is socially more likely I’d add a male contact. To test that I would need to arrange the contacts by my perceived social distance, which is an interesting experiment for another moment.


cummulative per year


new contacts added per year