Foreword

“Seid umschlungen Millionen! Diesen Kuß der ganzen Welt!”
Friedrich von Schiller, 1785


The Age of Enlightenment fostered dreams of a united humanity, building on knowledge, education, and equal access to participating in society and culture. With digital technologies, we have stepped closer to fulfilling that dream. Millions, even billions, of people across the globe are connected by the Internet, where they have access to communicating, learning, exchanging, developing, creating, and sharing with each other. Enlightened ideas remain at the core of the cultural heritage sector today. How do we embrace this unique opportunity to make our institutions and work truly support a connected world? The anthology before you is an attempt at that vast and complex question.

The term ‘Sharing is Caring’
has caught on in a wealth of contexts, from charity projects to file sharing services. What specific meaning and value does it have in a cultural heritage context? Cultural heritage belongs to everyone. It was created by – and for – all kinds of people. The digitisation of physical heritage objects enables them to move out of storage rooms, library shelves, and file drawers, and land in the hands of the worlds’ citizens. When cultural heritage is digital, there is nothing standing in the way of sharing and reusing it. It can be sampled, remixed, embedded, it can illustrate new stories and move into new media, it can adorn books, posters, and public spaces, advance research and make ideas and creativity blossom. When cultural heritage is digital, open and shareable, it becomes common property, something that is right at hand every day. It becomes a part of us.

BACKGROUND

• This anthology springs from the Sharing is Caring seminars 2011 and 2012. The speakers have converted their presentations into articles, reflecting the diverse formats of the seminars – from keynotes to ignite talks. And as the organizer, I have been able to contribute a more comprehensive article about the global tendencies which incited the seminars, and which have driven the development at my own institution.*

• The anthology spans a wide range of themes and approaches. It contains contributions from museum professionals, scholars, public sector admin‐ istrators, a lawyer and a school teacher. The red line through it all is an urge to explore the new opportunities to open up and share knowledge and resources, which digitisation brings about.

• A few of the speakers have not been able to contribute to the anthology. However, all talks from the Sharing is Caring seminars have been recorded and can be accessed at http://vimeo.com/channels/sharingiscaring

• The anthology carries the Creative Commons license CC BY 4.0 http://creativecommons.org/licenses/by/4.0/ This means that all of its content may be shared, sampled, and reused in new contexts, as long as you attribute the source.**

* My article has a relatively long introduction, giving an account of my professional background and specific approach to what I call ‘digital museum practice’ (p. 23‐31). Readers, who wish to move directly to the case study examining the development of digital museum practices at Statens Museum for Kunst, are recommended to start reading on p. 31.

** A few of the illustrations carry different Creative Commons licenses which will show beneath the individual images. Read more about the various licenses employed in the anthology on p. 264.

Thanks

My warmest thanks to everyone who has contributed to making Sharing is Caring an important hub for knowledge sharing and development in the Danish cultural heritage sector. Thanks to Charlotte S. H. Jensen, Axel Harms, Ditte Maria Bergstrøm, Jonas Heide Smith and Mikkel Thelle for ideas and sparring for the concept and programme. Thanks to all the speakers: Michael Edson, Shelley Bernstein, Jasper Visser, Jill Cousins, Martin von Haller Grønbæk, Lars Lundqvist, Bo Weymann, Jacob R. Wang, Tobias Golodnoff, Miriam Lerkenfeld, Henrik Jarl Hansen, Christian Ertmann-Christiansen, Lars Ulrich Tarp Hansen, Sarah Giersing, Ellen Pettersson, Lene Krogh Jeppesen, Ditte Laursen, Peter Leth, Theis Vallø Madsen, Lise Sattrup, Nana Bernhardt, Bjarki Valtysson and Nanna Holdgaard for enlightening and inspiring us. Not least, thanks to my co-organizers from ODM: Hans Henrik Appel, Sofie Paisley, Nils M. Jensen and Lotte Hviid Dhyrbye, from DR: Tobias Golodnoff, Miriam Lerkenfeld and Birte Lykke Rabjerg, and from MMEx: Pernille Lyngsø, Mie Ellekilde and Lone Hedegaard Kristensen, for turning the many good ideas into reality.

Thanks to great advisors and sources of inspiration: Allegra Burnette, Lizzy Jongma, Jesse Ringham, James Davis, Shelley Bernstein, Nina Simon, Michael Edson, Hein Wils, Loïc Tallon, Lars Lundqvist, Martin von Haller Grønbæk, Peter Leth, Jacob Wang og Charlotte S.H. Jensen for being ready and willing to offer your generous advice, guidance, and friendship.

Thanks to all my amazing colleagues at Statens Museum for Kunst for unfailing helpfulness and trust: Sarah Søgaard Grøn, Mette Houlberg Rung, Pernille Feldt, Sven Bjerkhof, Mathilde Schytz Marvit, Annette Rosenvold Hvidt, Henrik Holm, Anne Skovbo, Axel Kellermann, Christopher Pott, Sebastien Brossard, Thorbjørn Wulf, Kim Brasen, Frederik Henrik Knap, Nikolaj Recke and all the art pilots, and not least our responsive, bold, and foresighted executive group.

Thanks to wonderful colleagues from other institutions for rewarding collaborations and inspiring dialogues: Lisbeth Lund, Birgitte Kirkhoff Eriksen, Nina Damsgaard, Jonna Nielsen, Trine Grøne, Dagmar Warming, Gertrud Hvidberg-Hansen, Tina Anette Madsen, Lene Bøgh Rønberg, Stig Miss, Bettina Weiland, Marianne Saabye, Jan Gorm Madsen, Anna Scram Vejlby, Lars Ulrich Tarp Hansen, Rolf Källmann, Johanna Berg, Joris Pekel, Harry Verwayen, Nick Poole and Sam Leon.

Thanks to outstanding external partners: Morten Schjødt, Mattias Bodlund, Morten Westermann and Lone Jacoby from Oncotype, Mimi Larsson from the Copenhagen Metro Company and Christine Sørensen from Google Denmark, for all the things we have built together. Thanks to the #Twitterbrain, and helpful, smart users – especially Rikke Mosberg, Peter Soemers and Rikke Baggesen.

Thanks to Mai Misfeldt and Morten Nybo for putting important material and images at the disposal of this publication.

A warm thanks to the Danish Agency for Culture and Nordeafonden for generous support and great confidence in our work. Once again, a very special thanks to Michael Edson for incomparable and invaluable support, guidance, and feedback in the entire making of this anthology.

Finally; thanks to Jens for being the core from which everything grows. <3

Merete Sanderhoff
Copenhagen, January 2014