[MCN-L] Breakfast Conversations, Political Ramifications and Forum Highlights ARCS Update Vol 3 | Update 22

[ARCS]

***Breakfast Conversations***
POWarts’ popular breakfast series Colleagues and Friends returns Wednesday,
October 24th. Independent Registrar and Art Management Consultant, Andrea
Wood will be joined by Raina Mehler, Registrar at Pace Gallery, and John
Thomas Robinette III, Manager of Storage and Installation at Coleccion
Patricia Phelps de Cisneros, for a conversation about their career paths,
the role of registrars in institutional settings, and diversity in the
field.

When: October 24th, 8:30 – 10 am
Where: Emigrant Savings Bank
6 East 43rd Street
New York, NY

This edition of Colleagues and Friends is produced in partnership with
ARCS. We are pleased to offer ARCS members the POWarts member ticket price.
Members:  $5 / Non-Members: $15

Get tickets here-
https://www.eventbrite.com/e/colleagues-friends-andrea-wood-tickets-51538229231

The Colleagues and Friends breakfast series invites established women in
the art world to have conversations about their current positions, career
paths, and professional relationships. The program is generously hosted by
Emigrant Bank Fine Art Finance, a subsidiary of Emigrant Bank (Member FDIC,
founded 1850) and its subsidiary, Fine Art Asset Management (Member APAA,
AAA). Emigrant Bank Fine Art Finance is a leading provider of loans secured
by paintings, drawings, sculpture, wine, classic cars, stringed
instruments, and other passion assets. Fine Art Asset Management provides
independent, conflict-free, expert art advisory services, and USPAP
compliant appraisals.

**#ARCSChat November 6**
When governmental budgetary constraints prohibited proper maintenance of
the facilities in Brazil's national museum in Rio de Janeiro, politics
collided with collections management in a very real way to disastrous
effect. In November 6th’s #ARCSChat, which will take place on Election Day
in the United States, we'll discuss this precarious intersection, identify
the problems, and discuss ways to manage our situations so that more
disasters can be avoided. Join us at 8 PM ET on Twitter-
https://twitter.com/arcs4all

**ARCS Forum Highlights**
Did you know that you can share an event on the ARCS Forum?  Simply go to
the Forum page, and on the right there is a link with an easy-to-use
template to add your event.  You can also search the Forum specifically for
events. It’s a great way to share your museum or groups’ activities with a
wider audience, and to find collections-related learning and networking
opportunities. https://www.arcsinfo.org/forum

**Meet Your Board Member**
This week we would like to introduce you to Board member Mark Ryan. Mark
has over twenty years of experience working in the registration and
collections management profession in art, historical and natural history
institutions.  He has been the Assistant Director for Collections &
Exhibitions at the Mildred Lane Kemper Art Museum since 2016 where he is
responsible for the care and management of the museum’s collections and
exhibitions program as well as overseeing the security and facilities
departments while also currently guiding the museum through a major
expansion project. Prior to his current position Mark was the Director of
Collections & Operations at the Plains Art Museum in Fargo, ND where he had
similar responsibilities.

His formal education includes a B.S in Biology and a B.A. in History from
the University of Wyoming and an M.A. in Museum Science from Texas Tech
University.

He is an active participant, leader and advocate for collections care
through a number of current and past organizations and associated
activities.  In addition to his role as Recording Secretary for the
Association of Registrars and Collections Specialists (ARCS), Mark has
served multiple terms on the boards of the Midwest Art Conservation Center
(including a current term) and the Registrar’s Committee of the Mountain
Plains Museums Association and has served as a reviewer for both IMLS and
NEH.

When not at the museum, Mark can be found motorcycle touring, hiking,
cycling and generally just trying to keep up with his three young sons.

**Newsflash >From a Member**
On October 29th, ARCS Founding Board Member Suzanne Quigley, along with
ARCS Member Maura Kehoe Collins, will be doing a session titled “10,000
Hours? Collections Management and the Art Appraiser” at the Appraisers
Associations’ 2018 National Conference, Of Value.

https://www.appraisersassociation.org/

**Important Dates**
-October 24, 2018  8:30 – 10 AM POWarts’ breakfast series Colleagues and
Friends. Tickets here-
https://www.eventbrite.com/e/colleagues-friends-andrea-wood-tickets-51538229231
-November 6, 2018  8 PM ET #ARCSchat on Twitter. Participate and follow
here-https://twitter.com/arcs4all
-November 14-15, 2018. Integrated Pest Management for Cultural Institutions
Conference. Register here-
http://www.arcsinfo.org/news-events/event/1264/1/arcs-ccaha-integrated-pest-management-for-cultural-institutions
___
You are 

Re: [MCN-L] Multilingual websites

[Matt Morgan]

We had the Google Translate widget on the Met's site, in just the visit 
section, for a while during my time there, and then we added it to a 
part of NYPL's site but I never managed to get it added to the whole 
site and actually lost my job there because I wouldn't shut up about it. 
True story! (I've had LOTS of other jobs since then, don't worry.)


Anyway, the problem with human translation is this: you're already 
pretty careful to get the English right, and probably a few people are 
involved in the production and editing of any given page. Some or all of 
them may actually be trained & experienced as professional editors in 
English, and the educators/curators/content owners probably speak and 
write English pretty fluently, perhaps even well. Basically, you spend a 
lot of time getting the words right. How are you going to meet that 
standard in even one other language? You're going to hire some outside 
person who may or may not be good--it's hard to tell because none of you 
are professionals in that language--and not edit it nearly as carefully 
as the English because who's qualified to do that? And then it's so much 
extra work, when you change the English a little bit, you'll probably 
either just change the other languages in-house, with whatever local 
speakers of that language you can find, or maybe put it off for now 
since it really wasn't that big a change anyway. Over time you'll know 
that the translations are kind of falling behind the primary pages, but 
it'll be OK because everyone else is paying less attention to them than 
you are, so it'll just become this thing that eats at you a little bit, 
but you take comfort knowing that at least it's better than having no 
translations at all.


In case it's not obvious, if you're Canadian substitute "French and 
English" for "English," and if you're Belgian or Moroccan or whatever, 
substitute the four or six languages you're a pro at. However many it 
is, it's not 100 and it's probably not even eight or nine.


The problem with machine translation is exactly what Susan points out. 
It has issues. Even when it's pretty good it's not very good at 
technical terms, or colloquialisms, or proper names, or a dozen other 
kinds of repeated issues. And your art or history or science museum 
website is going to be about 30% those things. Probably 50% at the 
Exploratorium.


Here's the thing: even with all those issues, it still helps. If you 
think of machine translation just as an aid to comprehension, and you 
think of adding the widget to your site as a convenience, just to make 
it easier for visitors to do something they can already do and you can't 
stop them anyway, why not? Well I mean, that's what I thought and I lost 
my job. But I still think it's a logical argument. And I haven't seen a 
whole lot of museum websites succeed at human translation in more than a 
couple languages, except on very limited sets of pages.


There have been a couple major museum websites that provided the Google 
translation widget on every page, as a convenience. The two that I 
recall having it in the past no longer seem to provide it, so I have to 
imagine they similarly had a champion for it who moved on (willingly, I 
hope!) and their successors were less interested in fighting that fight.


Anyway, here's my suggestion: try Google on a few of your pages in any 
languages for which you have a local fluent speaker/reader and see how 
well it works. I bet you'll find that it conveys the basic ideas 
reasonably well, that it makes some really boneheaded mistakes, and that 
about 100 out of 100 visitors will not be harmed by it. But I also bet 
that if you share it with your colleagues from marketing, 
communications, etc., you'll quickly get a sense of how politically 
difficult it may be to roll it out. Exploratorium seems like the kind of 
place that might be willing to try it ... but wow, I bet your stuff is 
hard for machines to translate, so who knows.


Best,
Matt

On 10/22/2018 08:40 PM, Susan Edwards wrote:

Hi Mark -

I managed the localization work for the Getty's Visit section 4 years ago
and can give you some tips. From an accessibility point of view, you want
to have human-translated language, not use Google. In general translation
services are ok, but they make mistakes. You also want to think about
non-English language search engines and SEO in other languages as well. So
localization is not just about translation. Feel free to contact me - I am
happy to talk on the phone to discuss.

Things have probably changed in the last 4 years - I do wonder if Google
translate services, which are much more accessible these days through
search, are more commonly accessed and used by users. But ideally a user
from China, for example, isn't coming to your English pages and then
clicking on a button to change the language. They shouldn't see your
English page at all, and should just be sent directly to the Chinese page.
Again, this requires search 

Re: [MCN-L] Imaging opinions on the Equalight 3 Tool

[Rob Lancefield on lists]

Hi Liz and all,

Equalight is one of several well-regarded tools for what's often call
"flat-fielding" exposure across the full extent of an image: in effect,
pixel-mapping any uneven illumination or lens-based falloff based on
reference to an exposure made of an unvaried sheet of (nearly) white board
or other smooth, non-shiny material, and then using that reference shot to
compensate for that variance across the captured field in an identically
configured shot of an object. This is, as you note, an algorithmic
process, but it's useful also to note that this is in the sense of
algorithmic addition/subtraction of pixel exposure values based on an
actual reference shot, as distinct from algorithmic processing based on
software modeling of how a certain lens is believed (but perhaps not
definitively known) to behave in a given context; so in that sense, it's
especially closely grounded in shot-specific empirical data.

Provided it's used properly, this can be an excellent post-capture way to
remove artifacts of real-world uneven lighting and imperfect lens
performance, when those factors can't be fully or sufficiently dealt with
in the physical world before and during capture. A key thing here is
"properly": for example, because the applied compensation is based on a
reference shot captured with one particular focal distance, field of view,
aperture, light positions, etc., any change to any of those or certain
other shooting parameters requires a new reference capture--without which,
the software would be modifying an actual capture by applying compensation
based on an irrelevant reference shot, and for that reason effectively
corrupting rather than correcting the shot you care about. As another
example, it's important to apply blur (with appropriate parameters) to the
reference shot before feeding it to Equalight, so you don't end up (mis-)
"compensating" based on spatially tiny exposure variances that are in fact
due to how the reference board's surface (tooth) catches
light...whoops...not so good to apply that to object images!

Whether Equalight is a good thing to use depends on factors ranging from
how even the actual lighting can be made, how the lens performs (e.g., in
regard to any falloff or incipient vignetting) at the specific settings to
be used, how rigorous the photographer is about using these tools well,
etc. As a starting point, though, I'd tend to take a photographer's
familiarity with it as a promising indicator of experience with, and care
for, accurate and consistent capture, and I'd then ask how she or he
typically uses it, to ensure that it is indeed in ways that will reduce
artifacts and increase accuracy, rather than the reverse.

Hope this helps!

all best,
Rob

Rob Lancefield (mobile)

On Mon, October 22, 2018 7:55 pm, Liz Neely wrote:
>  Hi MCN-L (especially imaging pals),
>
>  While I know what I want as outcomes from my collection imaging
projects, I
>  admit not to be an expert on the ins and outs of all the tools
available in
>  the digital capture process.
>
>  We at the O'Keeffe are embarking on some collections imaging with a
>  contract photographer who uses a tool called Equalight (3) from Robin
Myers
>  Imaging (http://www.rmimaging.com/equalight.html) to algorithmically deal
>  with light fall off.
>
>  We want to use the images from this project for print reproductions,
>  banners and signs, online collections, and for scholarly digital
publishing
>  (through our in-progress IIIF server). (all the usual stuff - in print and
>  online)
>
>  Knowing the museum's various desires for outcomes from this photography --
>  do the imaging experts on this list have opinions / experiences they'd
>  share about using this type of tool?
>
>  If you'd rather share opinions with me off-list, email me directly!
>
>  Thank you!
>  Liz
>
>  Liz Neely
>  Curator of Digital Experience
>  Georgia O'Keeffe Museum
>  Santa Fe, N.M.
>  ___
>  You are currently subscribed to mcn-l, the listserv of the Museum Computer
>  Network (http://www.mcn.edu)
>
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>
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>
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>
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Re: [MCN-L] Imaging opinions on the Equalight 3 Tool

[Heumiller, Kurt]

Hi Liz,


Greetings from the Imaging SIG. Robin Myers is a respected name in the
cultural heritage imaging field. His software does one thing called
flat-fielding, but it does it well. Flat fielding allows a photographer to
even the illumination of a flat work that was not lit perfectly evenly and
correct for imperfections in lens vignetting (no lens is perfect) by
photographing a large white card (bigger than the painting) under the same
lighting and having the software figure out the unevenness of the lighting
from that white card and apply the correction to the photograph of the
painting (or drawing, object… whatever it works on various flat objects but
let’s just say paintings for now…).



One reason (and the fear that a lot of non-imaging people have is) a
photographer might want to do that is they might not have a large enough
space, enough time, the right skills, or enough equipment to completely
light an object perfectly evenly, but I find that that is rare. More often
I find that it is used by photographers who want to bring more texture out
of the paintings. The problem with even lighting is it is very flat and
doesn’t allow for the small shadows that highlight the texture of a
painting. A more raking light will accentuate the texture of the painting,
but it requires that one side of the painting be more strongly lit than the
other. By photographing with a raking light and then flat-fielding, the
photographer can get the best of both worlds, having more texture but not
having it seem that one side of the painting is much brighter and the other
much darker.

Many programs used with higher end medium format digital cameras like Phase
One’s Capture One or Hasselblad’s Phocus will have a type of flat-fielding
option built in using their own names (Phase One calls it LCC and
Hasselblad calls it Scene Calibration) and it’s pretty common to use one of
these tools particularly on smaller works 2D works (needing a white board
larger than your work makes the process less practical for extremely larger
objects). But when you can use it it's one step (among others that should
be also taken) that can ensure the image is best representing the colors
and tones of the original work and knowing that the dark corners are what
the artist actually painted and not just that the lens vignetted a little
there..



As far as should you trust a photographer using the tool? It’s a tool used
by many photographers that I trust. That said it is just one tool and and
craftsman worth his paycheck should have a tool box with a lot of different
tools for different tasks. If I was dealing with a carpenter and they were
telling me about their random orbital sander... that is great they can do
amazing things, but you also need a hammer and a saw and you need to know
how to use them.

On Mon, Oct 22, 2018 at 8:27 PM Liz Neely  wrote:

> Hi MCN-L (especially imaging pals),
>
> While I know what I want as outcomes from my collection imaging projects, I
> admit not to be an expert on the ins and outs of all the tools available in
> the digital capture process.
>
> We at the O'Keeffe are embarking on some collections imaging with a
> contract photographer who uses a tool called Equalight (3) from Robin Myers
> Imaging (http://www.rmimaging.com/equalight.html) to algorithmically deal
> with light fall off.
>
> We want to use the images from this project for print reproductions,
> banners and signs, online collections, and for scholarly digital publishing
> (through our in-progress IIIF server). (all the usual stuff - in print and
> online)
>
> Knowing the museum's various desires for outcomes from this photography --
> do the imaging experts on this list have opinions / experiences they'd
> share about using this type of tool?
>
> If you'd rather share opinions with me off-list, email me directly!
>
> Thank you!
> Liz
>
> Liz Neely
> Curator of Digital Experience
> Georgia O'Keeffe Museum
> Santa Fe, N.M.
> ___
> You are currently subscribed to mcn-l, the listserv of the Museum Computer
> Network (http://www.mcn.edu)
>
> To post to this list, send messages to: mcn-l@mcn.edu
>
> To unsubscribe or change mcn-l delivery options visit:
> http://mcn.edu/mailman/listinfo/mcn-l
>
> The MCN-L archives can be found at:
> http://www.mail-archive.com/mcn-l@mcn.edu/
>


-- 
Kurt Heumiller

Studio Production Manager
Imaging and Visual Resources
The Museum of Modern Art
11 West 53 Street, New York, NY 10019
212-708-9489
kurt_heumil...@moma.org
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Re: [MCN-L] Multilingual websites

[Susan Edwards]

Hi Mark -

I managed the localization work for the Getty's Visit section 4 years ago
and can give you some tips. From an accessibility point of view, you want
to have human-translated language, not use Google. In general translation
services are ok, but they make mistakes. You also want to think about
non-English language search engines and SEO in other languages as well. So
localization is not just about translation. Feel free to contact me - I am
happy to talk on the phone to discuss.

Things have probably changed in the last 4 years - I do wonder if Google
translate services, which are much more accessible these days through
search, are more commonly accessed and used by users. But ideally a user
from China, for example, isn't coming to your English pages and then
clicking on a button to change the language. They shouldn't see your
English page at all, and should just be sent directly to the Chinese page.
Again, this requires search optimization in that language, as well as
language declaration on the pages.

Susan

Susan Edwards

Associate Director, Digital Content

HAMMER MUSEUM

10899 Wilshire Boulevard

Los Angeles, CA 90024

310-209-7921

sedwa...@hammer.ucla.edu

On Mon, Oct 22, 2018 at 5:04 PM Megan Richardson <
megan.richard...@museedelhistoire.ca> wrote:

> The Van Gogh Museum in Amsterdam offers its whole website in Dutch and
> English, and key visit information in 9 other languages.
>
> Megan Richardson
> Directrice, Musée virtuel du Canada
> Musée canadien de l'histoire
> Director, Virtual Museum of Canada
> Canadian Museum of History
> 100 rue Laurier Street, Gatineau QC K1A 0M8
> T 819-776-7189
>
>
>
> -Original Message-
> From: mcn-l [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Mark Andrews
> Sent: October-10-18 5:23 PM
> To: mcn-l@mcn.edu
> Subject: [MCN-L] Multilingual websites
>
> Hi. I'm wondering if anyone has any recommendations about language
> translation for museum websites. Currently, the Exploratorium has a series
> of single pages for visit planning for seven non-English languages (e.g.,
> https://www.exploratorium.edu/es). But as we try to attract and serve
> more non-English speakers, we're thinking about other approaches.
>
> For instance, for anyone who is using (or has used) a Google Translate
> widget in your universal footer or header, did you find it successful? Did
> it get good usage?
>
> It occurred to me that I don't really have a sense of -- broadly -- how
> people use foreign language websites. Are they translating at browser level
> (or device level), making a site-specific widget superfluous? Or is a
> widget actually useful?
>
> Any insights or stats are appreciated! - Mark
>
> --
>
> Mark Andrews | Director of Online Media
> e x p l O r a t o r i u m
> mandr...@exploratorium.edu
> mobile: 415-830-1578
> ___
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> Network (http://www.mcn.edu)
>
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> ___
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>
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>
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>
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>
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[MCN-L] Imaging opinions on the Equalight 3 Tool

[Liz Neely]

Hi MCN-L (especially imaging pals),

While I know what I want as outcomes from my collection imaging projects, I
admit not to be an expert on the ins and outs of all the tools available in
the digital capture process.

We at the O'Keeffe are embarking on some collections imaging with a
contract photographer who uses a tool called Equalight (3) from Robin Myers
Imaging (http://www.rmimaging.com/equalight.html) to algorithmically deal
with light fall off.

We want to use the images from this project for print reproductions,
banners and signs, online collections, and for scholarly digital publishing
(through our in-progress IIIF server). (all the usual stuff - in print and
online)

Knowing the museum's various desires for outcomes from this photography --
do the imaging experts on this list have opinions / experiences they'd
share about using this type of tool?

If you'd rather share opinions with me off-list, email me directly!

Thank you!
Liz

Liz Neely
Curator of Digital Experience
Georgia O'Keeffe Museum
Santa Fe, N.M.
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Re: [MCN-L] Tell Congress Not to Make the Register of Copyrights a Presidential Pawn

[Suzanne Quigley]

Thank you A!!!


++
Suzanne Quigley
917 676 9039
ArtAndArtifactServices.com

> On Oct 11, 2018, at 5:46 AM, Amalyah Keshet  wrote:
> 
> Forwarding, in case anyone is interested in taking action.
> 
> 
> On Tue, Oct 9, 2018 at 10:44 PM Katharine Trendacosta | EFF Activism Team <
> act...@eff.org> wrote:
> 
>> This is a friendly message from the Electronic Frontier Foundation.
>> 
>> 
>> 
>> 
> 
>> Copyright has a huge effect on our daily lives, often controlling access
>> to movies, books, music, and art. That in turn has an effect on our digital
>> devices, which display, play, and help create copyrighted material
>> constantly. Copyright is also inextricable from free speech, as it can be
>> used as a tool to silence criticism. It’s important that the person in
>> charge of the Copyright Office be apolitical.
>> 
>> 
>> 
>> Congress is considering a bill—the Register of Copyrights Selection and
>> Accountability Act—which would make the Register of Copyrights a
>> presidential appointee. In August, proponents of the bill stated in a
>> hearing that this is a good idea because the process of a presidential
>> nomination and confirmation is more neutral and fair then hiring a
>> long-serving public servant for the job.
>> 
>> 
>> 
>> This isn’t true. An appointee will be more beholden to the political
>> beliefs of the President, not less. And who is appointed by the President
>> is more easily influenced by big media and entertainment companies who view
>> copyright as being all about their rights to own things and not our rights
>> to speech, create, or use our devices. The Copyright Office, if deployed to
>> carry out a political agenda, can do great harm to how we use the Internet
>> today.
>> 
>> 
>> 
>> While this bill has already passed the House, the Senate has not voted on
>> it yet. In fact, it’s still in committee. We can stop it now. Tell your
>> Senators to not make the Register of Copyrights a presidential pawn. Tell
>> them to vote "no
>> "
>> on the Register of Copyrights Selection and Accountability Act.
>> 
>> 
>> 
>> [image: Take Action]
>> Stand up for free speech online
>> 
>> 
>> Thank you,
>> 
>> Katharine Trendacosta
>> Activism Team
>> Electronic Frontier Foundation
>> 
>> Support our work to defend free speech and innovation
>> 
>> About EFF
>> 
>> The Electronic Frontier Foundation is the leading organization protecting
>> civil liberties in the digital world. Founded in 1990, we defend free
>> speech online, fight illegal surveillance, promote the rights of digital
>> innovators, and work to ensure that the rights and freedoms we enjoy are
>> enhanced, rather than eroded, as our use of technology grows. EFF is a
>> member-supported organization. Find out more at https://eff.org.
>>  Activism | Impact Litigation | Technology
>> 
>> This newsletter is printed from 100% recycled electrons.
>> 815 Eddy Street, San Francisco, CA 94104 United States
>> EFF appreciates your support and respects your *privacy*
>> .
>> 
>> 
>> 
>> 
>> 
> 
> -- 
> *Amalyah Keshet*
> 

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Re: [MCN-L] Multilingual websites

[Megan Richardson]

The Van Gogh Museum in Amsterdam offers its whole website in Dutch and English, 
and key visit information in 9 other languages.

Megan Richardson
Directrice, Musée virtuel du Canada
Musée canadien de l'histoire
Director, Virtual Museum of Canada
Canadian Museum of History
100 rue Laurier Street, Gatineau QC K1A 0M8
T 819-776-7189



-Original Message-
From: mcn-l [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Mark Andrews
Sent: October-10-18 5:23 PM
To: mcn-l@mcn.edu
Subject: [MCN-L] Multilingual websites

Hi. I'm wondering if anyone has any recommendations about language translation 
for museum websites. Currently, the Exploratorium has a series of single pages 
for visit planning for seven non-English languages (e.g., 
https://www.exploratorium.edu/es). But as we try to attract and serve more 
non-English speakers, we're thinking about other approaches.

For instance, for anyone who is using (or has used) a Google Translate widget 
in your universal footer or header, did you find it successful? Did it get good 
usage?

It occurred to me that I don't really have a sense of -- broadly -- how people 
use foreign language websites. Are they translating at browser level (or device 
level), making a site-specific widget superfluous? Or is a widget actually 
useful?

Any insights or stats are appreciated! - Mark

-- 

Mark Andrews | Director of Online Media
e x p l O r a t o r i u m
mandr...@exploratorium.edu
mobile: 415-830-1578
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Re: [MCN-L] Funding for Digital Media

[Maarten Brinkerink]

Dear all,

This might be of interest in addition: 
https://dutchmediainnovators.com/grants-events-awards-in-the-us 
 

Best,

Maarten

> Op 10 okt. 2018, om 19:50 heeft Robin White Owen  het 
> volgende geschreven:
> 
> 
> Thanks to everyone for the information on funders who support digital media 
> in some form. These grants cover a broad range of “digital,” from media 
> production(video, interactive, web, mobile, AR,VR), to TV production, to 
> digital staff and digitizing collections. 
> 
> These are the funding sources I have so far, in no particular order:
> 
> 1. NEH
> 2. IMLS
> 3. The Knight Foundation
> 4. Bloomberg Philanthropies
> 5. Samuel Kress Foundation
> 6. MacArthur Foundation
> 7. NEA
> 8. Mellon Foundation
> 
> in Canada:
> 9. Documentary Heritage Communities Program
> 10. Canada Council for the Arts
> 
> Google Arts was also suggested. I’m not sure how to evaluate that since they 
> create digital projects for museums, rather than contributing to museum 
> initiated projects. What do you think? 
> 
> Should hardware manufacturers and software developers, who tend to cherry 
> pick projects, also be included? 
> 
> I know funding patterns change over time but I’m interested in putting 
> together a list of programs that are ongoing or have been sustained over a 
> period of years. It would be great to add to this list, and then include how 
> much money each source has granted, over the past 5 years or so.  It’s time 
> consuming research! I need a smart intern!
> 
> Looking forward to more conversation on this.
> 
> Robin
> 
> 
> 
> 
>> On Oct 2, 2018, at 8:00 AM, mcn-l-requ...@mcn.edu wrote:
>> 
>> Send mcn-l mailing list submissions to
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>> 
>> Today's Topics:
>> 
>>  1. Funding for Digital Projects (Robin White Owen)
>>  2. Re: Funding for Digital Projects (Boyce Tankersley)
>>  3. Re: Funding for Digital Projects (Sterling Jenson)
>>  4. Job Posting: Digital Projects Manager, Kentucky
>> (Kate Haley Goldman)
>>  5. Re: Funding for Digital Projects (Susan Edwards)
>>  6. Re: Advancing Art Libraries and Curated Web Archives:
>> Community Survey (Karl Blumenthal)
>> 
> 
> Robin White Owen
> M: 917/407-7641
> T: 646/472-5145
> ro...@mediacombo.net
> MediaCombo 
> @rocombo 
> 
> 
> ___
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[MCN-L] Multilingual websites

[Mark Andrews]

Hi. I'm wondering if anyone has any recommendations about language
translation for museum websites. Currently, the Exploratorium has a series
of single pages for visit planning for seven non-English languages (e.g.,
https://www.exploratorium.edu/es). But as we try to attract and serve more
non-English speakers, we're thinking about other approaches.

For instance, for anyone who is using (or has used) a Google Translate
widget in your universal footer or header, did you find it successful? Did
it get good usage?

It occurred to me that I don't really have a sense of -- broadly -- how
people use foreign language websites. Are they translating at browser level
(or device level), making a site-specific widget superfluous? Or is a
widget actually useful?

Any insights or stats are appreciated! - Mark

-- 

Mark Andrews | Director of Online Media
e x p l O r a t o r i u m
mandr...@exploratorium.edu
mobile: 415-830-1578
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[MCN-L] Mapping Open Source in Museums

[Greg Albers]

Hi all,

We’re working on a project to map open source in museums, the results of which 
will be presented in Denver next month. Along with some data mining and 
visualization from the GitHub API (we’ve identified about 120 museums on GitHub 
with nearly 1500 public repositories) we’ve also put out a survey.

If you use or release open source code for your museum, we’d love to hear from 
you.

https://goo.gl/forms/1J1HEiMsM45XTvvX2

Thanks so much!

Greg Albers (@geealbers), J. Paul Getty Trust
Aron Ambrosiani (@AronAmbrosiani), Nordic Museum



--
Greg Albers
Digital Publications Manager | Getty Publications
https://github.com/gettypubs
galb...@getty.edu | @geealbers
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[MCN-L] Museum Mascots short survey

[Evjen, Max]

Hello Everyone,

I am reaching out to all social media managers of museum mascots: please take 
just a few minutes to fill out this short survey about your important work!

(https://docs.google.com/forms/d/e/1FAIpQLSe3R6PTqzmxsZ2qCa32PsbNlskrl01Yv-bg_wPAZ21bDlVx6Q/viewform)

We will be sharing the results of this survey at #MCN2018 in the following 
Museum Mascots session: 
(http://conference.mcn.edu/2018/profile.cfm?profile_name=session_key=96599045-F7BD-630C-C61A-B1B50B1A2842_key=B643D123-DF0D-7920-FD3A-9978D1EFEE81=0)

We may also share the results in a blog post after the conference.  For any 
questions about this survey, please contact me at this email address or at the 
phone number below.

Cheers!

Max Evjen
evjen...@msu.edu

Arts & Cultural Management and Museum Studies
Site Specific Performance
Department of Theatre
Michigan State University

Performance and Digital Engagement Specialist
Michigan State University Museum

409 West Circle, Room 7
East Lansing, MI 48823
517-432-6205

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Re: [MCN-L] Tell Congress Not to Make the Register of Copyrights a Presidential Pawn

[Amalyah Keshet]

Forwarding, in case anyone is interested in taking action.


On Tue, Oct 9, 2018 at 10:44 PM Katharine Trendacosta | EFF Activism Team <
act...@eff.org> wrote:

> This is a friendly message from the Electronic Frontier Foundation.
> 
>
>
>

> Copyright has a huge effect on our daily lives, often controlling access
> to movies, books, music, and art. That in turn has an effect on our digital
> devices, which display, play, and help create copyrighted material
> constantly. Copyright is also inextricable from free speech, as it can be
> used as a tool to silence criticism. It’s important that the person in
> charge of the Copyright Office be apolitical.
>
>
>
> Congress is considering a bill—the Register of Copyrights Selection and
> Accountability Act—which would make the Register of Copyrights a
> presidential appointee. In August, proponents of the bill stated in a
> hearing that this is a good idea because the process of a presidential
> nomination and confirmation is more neutral and fair then hiring a
> long-serving public servant for the job.
>
>
>
> This isn’t true. An appointee will be more beholden to the political
> beliefs of the President, not less. And who is appointed by the President
> is more easily influenced by big media and entertainment companies who view
> copyright as being all about their rights to own things and not our rights
> to speech, create, or use our devices. The Copyright Office, if deployed to
> carry out a political agenda, can do great harm to how we use the Internet
> today.
>
>
>
> While this bill has already passed the House, the Senate has not voted on
> it yet. In fact, it’s still in committee. We can stop it now. Tell your
> Senators to not make the Register of Copyrights a presidential pawn. Tell
> them to vote "no
> "
> on the Register of Copyrights Selection and Accountability Act.
>
>
>
> [image: Take Action]
> Stand up for free speech online
> 
>
> Thank you,
>
> Katharine Trendacosta
> Activism Team
> Electronic Frontier Foundation
>
> Support our work to defend free speech and innovation
> 
> About EFF
>
> The Electronic Frontier Foundation is the leading organization protecting
> civil liberties in the digital world. Founded in 1990, we defend free
> speech online, fight illegal surveillance, promote the rights of digital
> innovators, and work to ensure that the rights and freedoms we enjoy are
> enhanced, rather than eroded, as our use of technology grows. EFF is a
> member-supported organization. Find out more at https://eff.org.
>   Activism | Impact Litigation | Technology
>
> This newsletter is printed from 100% recycled electrons.
> 815 Eddy Street, San Francisco, CA 94104 United States
> EFF appreciates your support and respects your *privacy*
> .
>
>
>
>
>

-- 
*Amalyah Keshet*
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