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Partage Plus - Projekt Digitalizacije Secesijske Baštine Tema Broja Topic of This Volume IM 43 (1-4) 2012. PARTAGE PLUS - PROJEKT DIGITALIZACIJE SECESIJSKE BAŠTINE TEMA BROJA TOPIC OF THIS VOLUME DUNJA NEKIĆ Muzej za umjetnost i obrt, Zagreb Zašto secesija? Secesija kao jedan od posljednjih univerzalnih stilova koji se očitovao u svim granama umjetnosti, posebice u primijenjenoj, bila je logičan odabir za pokretanje pro- jekta koji bi ujedinio institucije iz cijele Europe. Inspiriran prirodom, s prepoznatljivom zakrivljenošću formi i orna- mentiranošću plošnih linija kako na fasadama zgrada, tako i na predmetima svakodnevne upotrebe, postao je obilježjem vremena koje je težilo spojiti umjetnost i obrt te na prijelazu stoljeća ujediniti Europu u jednom jedin- sl.1. Vaza, Antonija Krasnik, Muzej za stvenom stilu. Premda je s vremenom pomalo zaborav- umjetnost i obrt, Zagreb ljena zbog modernističkih stilova, popularnost secesije sl.2. Posuda za cvijeće, Antonija Krasnik, sada je veća no ikada. Dobro je zastupljena u muzej- Muzej za umjetnost i obrt, Zagreb skim zbirkama, arhivima, knjižnicama i građevinama Zašto MUO? diljem Europe, a poznata je i pod nazivima art nouveau, Muzej za umjetnost i obrt vodeći je partner u projektu liberty, modernism, arte nova, Jugendstil. za područje Hrvatske, jer je, podsjećamo, potkraj 2003. Partage plus - Digitising and Enabling Art Nouveau for i početkom 2004. g. postavio izložbu Secesija u Hrvat- Europeana ima cilj objediniti i digitalizirati cjelokupnu skoj, koju je vidjelo više od 100 000 posjetitelja. Namjera europsku baštinu secesijskoga razdoblja te je približiti voditelja projekta1 jest uključivanje što većeg broja mu- brojnoj europskoj publici. U projektu, koji traje od 1. zeja, galerija, privatnih kolekcija i institucija u kulturi koji ožujka 2012. do 28. veljače 2014. godine, sudjeluju su pozvani da se svojim odabirom secesijskih predmeta 23 partnera iz 18 europskih zemalja. Cilj projekta je iz vlastitih fundusa uključe u predstavljanje secesije u digitalizacija više od 75 000 predmeta te izrada 2 000 Hrvatskoj na međunarodnoj razini i time dobiju priliku 3D modela stručno odabranih predmeta iz razdoblja sudjelovanja u jednome europskom projektu. Bjelovar, secesije. Važno je istaknuti kako će pretraživanje cjelo- Čakovec, Dubrovnik, Opatija, Osijek, Pula, Rijeka, Sa- kupnoga materijala, koji će višestruko povećati zastu- mobor, Sisak, Split i Zagreb samo su neka od središta pljenost secesijske građe na internetu, biti omogućeno u kojima djeluju muzeji i institucije u kulturi koja će biti preko vodećega mrežnog portala za kulturu Europske uključena u projekt Partage Plus. Unije - Europeane.eu, a pretraživanje sadržaja nastaloga 1 Stručni tim MUO čine Miroslav U planu je digitalizacija oko 5 000 predmeta i građevina Gašparović, ravnatelj MUO; dr. sc. spomenutim projektom bit će omogućeno na 17 europ- s područja cijele Hrvatske, a izradit će se i oko 200 Vesna Lovrić Plantić, voditeljica skih jezika zemalja koje sudjeluju u projektu, uključujući i projekta u MUO; Zoran Svrtan, 3D modela najpoznatijih umjetničkih djela. Za našu je hrvatski jezik. IT te suradnice Dunja Nekić i Iva zemlju izuzetno važno sudjelovanje u projektu jer će Meštrović. 44 sl.3. Stojeći sat, Hamburg - Amerikanische se na taj način velikom broju korisnika IT tehnologije zadao standarde digitalizacije projekta kojima određuje Uhrenfabrik. Muzej za umjetnost i obrt diljem svijeta približiti djela naših vrhunskih umjetnika i proces digitalizacije. Proces digitalizacije u projektu sl.4. Značka, Tomislav Krizman, Muzej za arhitekata poput Ivana Meštrovića, Roberta Frangeša Partage Plus djelomično je utemeljen na modelu što ga umjetnost i obrt, Zagreb Mihanovića, Bele Čikoša Sesije, Tomislava Krizmana, je u akademskom kontekstu razvio JISC Digital Media u sl.5. Vaza, Tomislav Krizman, Muzej za Antonije Krasnik, Aladara Baranyaija, Vjekoslava Bastla Ujedinjenom Kraljevstvu.2 umjetnost i obrt, Zagreb i drugih. Istodobno, proširit će se znanje naših korisnika Proces digitalizacije sastoji se od četiri faze. Prva, pripre- o opusima svjetski priznatih umjetnika - Galléa, Laliquea, mna faza (Preparation) obuhvaća prvih nekoliko mjeseci Van de Veldea, Tiffanyja, Alfonsa Muche... primjercima iz projekta u kojima se izrađuju popisi predmeta što se naših muzeja i drugih kulturnih ustanova. uključuju u projekt. U toj fazi potrebna je pomoć IT služ- be radi stvaranja što kvalitetnijega radnog materijala i popisa, ali i stručna pomoć kustosa, koji u dogovoru sa Digitalizacija? stručnim timom projekta provjeravaju stanje pojedinih Digitalizacija, suprotno uvriježenome mišljenju, ne sastoji dijelova zbirki i izrađuju raspored snimanja. Također, ne- se samo od fotografiranja i skeniranja materijala različitih zaobilazan je rad restauratora u pripremama predmeta vrsta građe (npr. umjetničkih djela, grafičkog materijala, prije snimanja, bilo samo u obliku čišćenja, ili u cjeloku- dekorativne umjetnosti, knjiga, audiovizualnog materija- pnim restauratorskim zahvatima. la, arhivskih podataka), već i stvaranja digitalnog opisa Druga faza odnosi se na snimanje predmeta ( - (metapodataka) o predmetu te njegova prilagođivanja Capture the ) koje je određeno minimalnim standar- standardima projekta. creation of archive dima kvalitete digitalnog sadržaja (slikovni, audiozapisi Projekt čiji je cilj obrada velike količine građe, poput pro- i videozapisi). Originalni digitalni sadržaj ovisi o uređaju jekta Partage plus, zahtijeva strogo definiranje ključnih koji se upotrebljava (npr. skener - RGB ili TIFF, fotoapa- koraka u procesu digitalizacije. Stoga je rad na projektu rat - Raw ili TIFF). Raw digitalni sadržaj pohranjuje kao podijeljen na radne pakete (work package - WP), od back-up arhiva (tzv. Master Archive), što omogućuje kojih svaki prati jedan od aspekata digitalizacije. naknadne izmjene i procese. Pet radnih paketa projekta organizirani su na sljedeći Treća je faza optimizacije (Optimization) u kojoj se provodi način. stručni rad na snimljenom Raw materijalu, a to osim provjere kvalitete uključuje i postupke poput prilagodbe veličine fotografije i njezino obrezivanje, promjene per- DIGITALIZACIJA (Digitalisation). KMKG (Koninklijke Musea spektive, provjeru i prilagodbu tona fotografije, čišćenje voor Kunst en Geschiedenis) partner je projekta odgo- 2 http://www.jiscdigitalmedia.ac.uk/ itd. te, na kraju, konverziju iz Raw ili high-bit TIFF forma- voran za prvi radni paket. U dogovoru s glavnim koordi- guide/generic-image-digitisation- ta u 24bit RGB Baseline uncompressed TIFF file format. workflow natorom projekta – CT-om (Collections Trust), KMKG je 45 Krajnji rezultati optimizacije trebali bi se također pohraniti kao zasebna back-up arhiva (tzv. Master Optimised Archive). Završna, četvrta faza odnosi se na stvaranje surogata prika- za (Surrogate creation) koji se stvaraju iz Master Optimi- sed Archive za različite namjene poput prezentacije na sl.6. Na babilonskoj rijeci, Ephraim Moses Lilien, Muzej za umjetnost i obrt, Zagreb monitoru (pritom je uključeno stvaranje thumbnaila za sl.7. Oslikao: Tomislav Krizman, Zagreb, pristup prikazu preko mrežnih stranica poput Europea- 1911. ne), zatim za radni materijal (in-house printing) kao i za Češka, Ostrov (Schlakenwerth), tvornica potencijalnu daljnju komercijalnu upotrebu. Svi predmeti Pfeiffer & Löwenstein, 1910. koji se uključuju u projekt i prikazuju na Europeani sva- porculan, crni slikani ukras kako moraju biti oslobođeni autorskih prava, sukladno konvertiranje metapodataka u Partage Plus metadata DEA (Data Exchange Agreement)3. model (LIDO) te mapiranje lokalnih terminologija u skla- du s prihvaćenim referentnim terminologijama. Obrada i kontrola kvalitete provodi se tijekom cijelog projekta, obraća se pozornost na kalibraciju uređaja i ArhivPRO je agregator za MUO (kultura.hr) te služi kao pohranu sadržaja, a predmeti se nastoje snimiti u najve- servis za administriranje podataka prema Europeani. ćoj mogućoj kvaliteti kako bi se kasnije olakšala obrada i upotreba u različitim aplikacijama. OBOGAĆIVANJE METAPODATAKA (Metadata enrichment). UNIMAR (Das Deutsche Dokumentationszentrum für IZRADA I PREBACIVANJE NA EUROPEANU (Production and Kunstgeschichte - Bildarchiv Foto Marburg) projektni je delivery to Europeana). NTUA (National Technical Univer- partner odgovoran za treći radni paket te je u bliskoj su- sity of Athens) partner je projekta odgovoran za drugi radnji s NTUA. Jedan od zadataka UNIMAR-a jest razviti radni paket. Stručni tim pod vodstvom NTUA integrirao jedinstvenu stručnu terminologiju za sve projektne par- je sve nužne komponente u zajedničku platformu MINT, tnere koja bi se upotrebljavala za mapiranje podataka pri utemeljenu na ATHENA ingestion server. MINT (Parta- prijenosu na Europeanu. Drugim riječima, ako pri pretra- ge Plus metadata test system) omogućuje partnerima živanju predmeta iz projekta upišemo riječ razglednica, mapiranje vlastitih shema metapodataka u Partage Plus neovisno o jeziku i instituciji koja je uključila predmet u metadata model - LIDO.4 projekt, pretraživanje će nam pokazati sve razglednice, postcards, Ansichtskarte, carte postale, cartoline itd. na MINT omogućuje agregiranje metapodataka projektnih 17 jezika projekta. partnera i njihovu transformaciju u ESE - Europeana 3 http://pro.europeana.eu/web/ guest/data-exchange-agreement Semantic Elements i EDM - Europeana Data Model. Iako se posao stvaranja odgovarajuće kataloške jedinice 4 LIDO je shema za dostavu Mogućnost provjere uspješnosti mapiranja omogućuje čini prilično jednostavnim, u limitiranim uvjetima prvog metapodataka iz online baza korisnicima dostavu metapodataka u nekoliko
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