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Reconciliation is a Necessity – IIIF Meeting, Edinburgh 2018

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Stefano Cossu
Stefano Cossu

This presentation wants to give an overview of the Getty Trust's plans to publish 50 million images from its Museum, Conservation Institute, Research Institute, and other programs using the IIIF protocol by 2022.

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Reconciliation Is A Necessity Stefano Cossu, J.P. Getty Trust IIIF Showcase, Edinburgh, Scotland December 3rd, 2018
Getty Digital (GD) • GD is part of the Getty Trust: • Getty Conservation Institute • Getty Foundation • Getty Research Institute • J. P. Getty Museum • GD is currently under restructuring • Consolidating digital projects formerly owned by other Getty programs https://commons. wikimedia.org/wiki /File:Getty_center _architecture_(Uns plash).jpg (CC0)
IIIF Image Services: Current Two separate services • One image server for the Research Institute • Level 0 Image API for the Museum Michelangelo Buonarroti (Italian, 1475 - 1564) Study of a Mourning Woman, about 1500–1505, Pen and brown ink, heightened with white lead opaque watercolor 26 × 16.5 cm (10 1/4 × 6 1/2 in.), 2017.78 The J. Paul Getty Museum, Los Angeles
Image Services Consolidation Goals Deliver all images using one IIIF service • 50 million images by 2022 • Include Museum, Library, GRI, GCI • Include implementation of • Image API • Presentation API • Auth API Attributed to the Isidora Master (Romano-Egyptian, active 100 - 125) Mummy Portrait of a Woman, A.D. 100, Encaustic on linden wood; gilt; linen 48 × 36 × 12.8 cm (18 7/8 × 14 3/16 × 5 1/16 in.), 81.AP.42 The J. Paul Getty Museum, Los Angeles
Where Things Get Complicated • The Getty has characteristics of Libraries, Museums, Archives, and Research Institutions • Data will be inter-linked between programs with vastly different scopes and missions • How can we cross-walk such different data sets, with so much content in common? • How can we harmonize metadata from all programs? Nadar [Gaspard Félix Tournachon] (French, 1820 - 1910) [Félix Nadar in Gondola of Balloon], about 1863, Albumen silver print 8.8 × 5.6 cm (3 7/16 × 2 3/16 in.), 84.XC.873.5906 The J. Paul Getty Museum, Los Angeles
The IIIF LAMR Landscape Museums Libraries & Archives Research Institutions Audience range Broad Narrower Specialized Primary focus of rich media Rich user experience, education, engagement Exhaustive and accurate information Accurate information, relationships Sharing mission Copyrights are often a barrier* Historically open access mission and mind set Sharing is intrinsic to scientific community UX Flow Non-linear (thematic) Linear (textual media) Relational Semantic structures Complex, diverse Highly codified Articulated, codified IIIF manifest purpose Curated collections Reflect medium structure Dependent on individual use cases Annotation purpose Broad category tags Literal transcriptions Dependent on individual use cases *Recently, however, museums have been increasingly adopting open-access policies.
Reconciliation Is A Necessity! • Characterize the Getty's visual and conceptual material across different programs • Bridge conceptual gaps across disciplines • Linked Open Data is the ideal tool for that • IIIF is (conceptually) LOD • A technological and semantic framework to facilitate contribution (especially from smaller entities) • Increase “biodiversity” of institutions and data in the IIIF community Unknown Head of an Amazon, late 5th century B.C., Marble 21.4 × 15.7 × 16.2 cm (8 7/16 × 6 3/16 × 6 3/8 in.), 73.AA.79 The J. Paul Getty Museum, Los Angeles
The Challenges: Scale • Migration effort • Availability & reliability • Upkeep & growth costs Unknown maker, British [Scott Monument, Edinburgh], about 1860, Albumen silver print 84.XC.873.5109 The J. Paul Getty Museum, Los Angeles
The Challenges: Complexity • Produce source images with consistent specs • Gather all contents + metadata from different sources Unknown Book of Chess Problems, late 14th century, Tempera colors and gold leaf on parchment bound between pasteboard covered with parchment Leaf: 24.8 × 16.8 cm (9 3/4 × 6 5/8 in.), Ms. Ludwig XV 15 The J. Paul Getty Museum, Los Angeles
The Challenges: Coordination • Different content management tools • Different content management patterns • Different user mind sets Charles-François Daubigny (French, 1817 - 1878) La Rentrée Du Troupeau, plate 1858–1862; print 1921, Cliché verre 34 × 27 cm (13 3/8 × 10 5/8 in.), 84.XO.702.317.27 The J. Paul Getty Museum, Los Angeles
Talk to you again in 2022! Questions? scossu@getty.edu Many thanks to David Newbury and Robert Sanderson for their guidance and information. Unknown Male Harp Player of the Early Spedos Type, 2700–2300 B.C., Marble 35.8 × 9.5 × 28.1 cm (14 1/8 × 3 3/4 × 11 1/16 in.), 85.AA.103 The J. Paul Getty Museum, Los Angeles° Thank You

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Reconciliation is a Necessity – IIIF Meeting, Edinburgh 2018

  • 1. Reconciliation Is A Necessity Stefano Cossu, J.P. Getty Trust IIIF Showcase, Edinburgh, Scotland December 3rd, 2018
  • 2. Getty Digital (GD) • GD is part of the Getty Trust: • Getty Conservation Institute • Getty Foundation • Getty Research Institute • J. P. Getty Museum • GD is currently under restructuring • Consolidating digital projects formerly owned by other Getty programs https://commons. wikimedia.org/wiki /File:Getty_center _architecture_(Uns plash).jpg (CC0)
  • 3. IIIF Image Services: Current Two separate services • One image server for the Research Institute • Level 0 Image API for the Museum Michelangelo Buonarroti (Italian, 1475 - 1564) Study of a Mourning Woman, about 1500–1505, Pen and brown ink, heightened with white lead opaque watercolor 26 × 16.5 cm (10 1/4 × 6 1/2 in.), 2017.78 The J. Paul Getty Museum, Los Angeles
  • 4. Image Services Consolidation Goals Deliver all images using one IIIF service • 50 million images by 2022 • Include Museum, Library, GRI, GCI • Include implementation of • Image API • Presentation API • Auth API Attributed to the Isidora Master (Romano-Egyptian, active 100 - 125) Mummy Portrait of a Woman, A.D. 100, Encaustic on linden wood; gilt; linen 48 × 36 × 12.8 cm (18 7/8 × 14 3/16 × 5 1/16 in.), 81.AP.42 The J. Paul Getty Museum, Los Angeles
  • 5. Where Things Get Complicated • The Getty has characteristics of Libraries, Museums, Archives, and Research Institutions • Data will be inter-linked between programs with vastly different scopes and missions • How can we cross-walk such different data sets, with so much content in common? • How can we harmonize metadata from all programs? Nadar [Gaspard Félix Tournachon] (French, 1820 - 1910) [Félix Nadar in Gondola of Balloon], about 1863, Albumen silver print 8.8 × 5.6 cm (3 7/16 × 2 3/16 in.), 84.XC.873.5906 The J. Paul Getty Museum, Los Angeles
  • 6. The IIIF LAMR Landscape Museums Libraries & Archives Research Institutions Audience range Broad Narrower Specialized Primary focus of rich media Rich user experience, education, engagement Exhaustive and accurate information Accurate information, relationships Sharing mission Copyrights are often a barrier* Historically open access mission and mind set Sharing is intrinsic to scientific community UX Flow Non-linear (thematic) Linear (textual media) Relational Semantic structures Complex, diverse Highly codified Articulated, codified IIIF manifest purpose Curated collections Reflect medium structure Dependent on individual use cases Annotation purpose Broad category tags Literal transcriptions Dependent on individual use cases *Recently, however, museums have been increasingly adopting open-access policies.
  • 7. Reconciliation Is A Necessity! • Characterize the Getty's visual and conceptual material across different programs • Bridge conceptual gaps across disciplines • Linked Open Data is the ideal tool for that • IIIF is (conceptually) LOD • A technological and semantic framework to facilitate contribution (especially from smaller entities) • Increase “biodiversity” of institutions and data in the IIIF community Unknown Head of an Amazon, late 5th century B.C., Marble 21.4 × 15.7 × 16.2 cm (8 7/16 × 6 3/16 × 6 3/8 in.), 73.AA.79 The J. Paul Getty Museum, Los Angeles
  • 8. The Challenges: Scale • Migration effort • Availability & reliability • Upkeep & growth costs Unknown maker, British [Scott Monument, Edinburgh], about 1860, Albumen silver print 84.XC.873.5109 The J. Paul Getty Museum, Los Angeles
  • 9. The Challenges: Complexity • Produce source images with consistent specs • Gather all contents + metadata from different sources Unknown Book of Chess Problems, late 14th century, Tempera colors and gold leaf on parchment bound between pasteboard covered with parchment Leaf: 24.8 × 16.8 cm (9 3/4 × 6 5/8 in.), Ms. Ludwig XV 15 The J. Paul Getty Museum, Los Angeles
  • 10. The Challenges: Coordination • Different content management tools • Different content management patterns • Different user mind sets Charles-François Daubigny (French, 1817 - 1878) La Rentrée Du Troupeau, plate 1858–1862; print 1921, Cliché verre 34 × 27 cm (13 3/8 × 10 5/8 in.), 84.XO.702.317.27 The J. Paul Getty Museum, Los Angeles
  • 11. Talk to you again in 2022! Questions? scossu@getty.edu Many thanks to David Newbury and Robert Sanderson for their guidance and information. Unknown Male Harp Player of the Early Spedos Type, 2700–2300 B.C., Marble 35.8 × 9.5 × 28.1 cm (14 1/8 × 3 3/4 × 11 1/16 in.), 85.AA.103 The J. Paul Getty Museum, Los Angeles° Thank You