Calimera Guidelines

Digital multimedia can be described as a combination of text, graphics, sound, animation and video delivered by some form of computer hardware. When the user has some control over what is presented it becomes interactive multimedia (see the guideline on Interactivity).

The EU IST programme explicitly supports movement towards the future generation of technologies in which computers and networks will be integrated into the everyday environment, and defines multimedia as “Using computers and/or digital features to present visual and audio content in a meaningful context. Elements include: animation, audio components, CD-ROM, computer entertainment, convergence media, data compression, DVD, graphics and graphics interfaces, hypermedia, text, video, videoconferencing, virtual reality, … and an ever expanding list of technologies in this growth area” [1].

The balance between print, multimedia holdings and access to Internet resources has changed rapidly over the last few years in heritage institutions and it is now accepted that they have a role to play in providing and managing ‘virtual’ as well as physical resources. The move towards digital content is also having an impact on space allocation as users require PCs and other equipment in order to be able to make use of digital resources on the premises.

More and more cultural resources in diverse formats are becoming available electronically and online. Libraries in particular are purchasing or subscribing to licences for digital materials (e-books, e-serials, audio-visual media) for use by their members. Museums, libraries and archives themselves hold and create digital or multimedia content, often in special local collections which may include newspapers, photographs, maps manuscripts, sound recordings (e.g. oral history), local art collections and film or video. (See the guideline on Digitisation.) Collections of ‘virtual’ Internet (e.g. local or thematic) resources can be created and packaged at little cost and are a way of extending conventional services.

The challenge for museums, libraries and archives is how to integrate new formats into the traditional service model where they do not involve physical items and so, for example, do not fit into existing acquisition or circulation models. Staff will require additional training and new resource management models will need to be developed.

The provision of audiovisual materials and their associated equipment can be useful for young children, people with low levels of literacy, and those who use another language, who might find oral and visual communication easier than the printed word.

The assurance of accessibility for all users, including disabled people, to multimedia resources is of key importance (see the guideline on Accessibility for disabled people).

GOOD PRACTICE GUIDELINES Back to Scope

Infrastructure Back to Scope

The delivery of effective multimedia services requires bandwidth. The EU is committed to ensuring that all museums, libraries, archives and similar institutions have broadband connections. In some remote areas this might be provided via satellite or wireless technology (see the guideline on Underlying technologies and infrastructure). It might be possible to apply for EU structural funds for the purpose of connecting rural areas [2]. Adequate numbers of PCs, printers and other equipment to enable users to access multimedia resources within the building will also be needed.

Multimedia formats Back to Scope

Content exists in a variety of forms including text, still images (e.g. photographs, slides, microform), moving images (e.g. film, video), sound (e.g. music, spoken word, sound effects), and a combination e.g. audio visual media. The need for text, pictures, films, sound, music, etc. in non-electronic formats still exists and equipment for viewing and listening should be provided for every type of format held by the institution.

Museums, libraries and archives have experience of adapting to new technologies. Over the last few decades vinyl records, audio cassettes, CDs, DVDs, cine film, slides, videocassettes, audio books, etc. have all been used in cultural institutions.

Sound, image and multimedia may exist in analogue and digital formats on a range of carriers including mechanical carriers (e.g. vinyl records), magnetic tape carriers (e.g. audio and video cassettes), magnetic disk carriers (e.g. floppy disks and hard disks), photochemical carriers (e.g. reel film formats) and optical carriers (e.g. CDs, DVDs).

However there has been an explosion of computer-based multimedia content which modern cultural institutions need to get to grips with.

e-books Back to Scope

e-books and e-serials are a way of delivering text electronically. An e-book is a text or monograph which is available in an electronic form, and which can be downloaded from the Internet and read on a variety of hardware platforms such as a computer (desktop, laptop, note-book or tablet) or a handheld device (e.g. a PDA such as a Pocket PC or Palm device, or a 3rd Generation (3G) mobile phone).

Reading software compatible with the hardware and linked to the e-book format is also required. e-books are published in a number of different formats; the Open eBook Forum [3] is attempting to develop a universal e-book standard. E-book readers and formats include:

· Adobe Reader - for e-books in PDF format;

· Microsoft Reader - for e-books in Microsoft format;

· Palm Reader - compatible with any PDA device running the Palm Operating System, and also for use with PCs with Windows;

· MobiPocket Reader - a universal e-book and e-text reader for PDAs that is also compatible with some brands of 3G phones;

· various proprietary readers e.g. netLibrary.

There are also some readers [4] which will read aloud e.g.

· Audible.com;

· Microsoft Windows Media Audio (WMA);

· MP3;

· Adobe 6 (the 'Read out loud' feature which has to be enabled by the publisher).

Despite what people might think, Digital Talking Books (DTBs) are not always accessible to print-disabled people, often because of rights issues. Digital Rights Management Systems (DRMs) often disable screen readers as part of a security feature. The Daisy Consortium [5] has developed a standard for Digital Talking Books (DTBs) (Specifications for the Digital Talking Book - ANSI/NISO Z39.86-2002) [6] with the aim of making talking books accessible to people with print disabilities.

e-books are perhaps most associated with libraries, though archives and museums might use the technology for delivering text electronically, or in special libraries attached to them or incorporated within them. Libraries can make e-books available for loan in a number of ways, e.g.:

· by lending e-book readers loaded with texts. The e-book reader has a loan period and must be returned;

· by circulating e-books for users to read on their own e-book readers. Users do not need to physically visit a library service point to borrow or return the books.

There are two models for circulating e-books:

· the one book, one user access model: an e-book can be reissued many times but only one reader can borrow one ‘copy’ at any one time;

· the multi-user, simultaneous access model: brings e-books into line with other forms of digital content where several people can read the same text at the same time.

However, e-books are usually obtained on a publisher-library licensing basis, and publishers prefer the one book one user model, whereas libraries prefer the multi-user simultaneous access model. This issue has yet to be resolved. There are also rights issues to be considered in connection with e-books. Free e-books available to download tend to be out of copyright classics (see Project Gutenberg [7] for example.) For a discussion of e-books in libraries see E-books in UK Public Libraries: where we are now and the way ahead by Penny Garrod [8].

e-serials Back to Scope

Electronic serials may be defined very broadly as any journal, magazine, e'zine, Webzine, newsletter or electronic serial publication which is available over the Internet. Free access to some web-based newspapers and journals is available; others are only available as fee-based, full-text CD-ROM and web publications. There are currently two main formats:

· e-mail based e-serials typically use plain text and are more commonly described as newsletters. Users 'subscribe' through an e-mail message, and the newsletter is delivered straight to their e-mailboxes;

· web-based. Currently, most e-serials are made available via web pages using either HTML or PDF. These include electronic daily newspapers. A growing number do not have a print equivalent.

e-serials are either supplied directly by the publishers themselves or via aggregator services such as OCLC or EBSCO which provide access to and manage a large selection of e-serials on the institution’s (usually library’s) behalf, removing the need to negotiate a set of individual licences and prices with a number of different journal publishers. Where an e-journal is held on the suppliers' servers, copyright agreements with publishers may restrict access and use. It is important to consider the payment model involved: some suppliers require both a print and electronic subscription. Model licences are available which can be used as a starting point for negotiation (see also the guideline on Legal and rights issues).

The move to e-serials may cause preservation problems. With hard copy serials libraries are generally entitled to retain back issues. This is not usually the case with e-serials and libraries should ensure that their licence covers them to retain ‘old’ editions if they wish to maintain a backrun.

Some libraries are starting to make multimedia content (e-books, e-serials etc.) available to remote users via their websites. In order to meet licence restrictions users usually have to be library members and to authenticate themselves in some way, perhaps by means of a PIN code, to access the materials. (See the guideline on Security.)

Streaming media Back to Scope

Streaming media, a sequence of moving images and/or sounds sent in compressed form over the Internet, has facilitated the viewing and listening of films, music etc. With streaming media, the user does not have to wait to download a large file before seeing the video or hearing the sound. Instead, the media is sent in a continuous stream and is played as it arrives.. A great many streaming media resources are available via the Internet from Europe and all over the world, including community webradios, broadcast news bulletins, drama, music, television and radio (both live and archived programmes), educational resources, parliamentary and court TV, financial and business services, religious broadcasting and full-length commercial movies and shorter clips. In order to play streaming’ media, special software e.g. RealAudio, MS Media Server, Shoutcast [9] is needed, which can usually be downloaded free from the Internet. Some commercial services, such as Groovy Gecko [10], offer additional services such as the ability to monitor the number and frequency of hits. For an introduction to the technology of streaming media see Streaming media: introduction. [11]

Music and sound Back to Scope

Music was a pioneer in using ICT to distribute and access cultural artefacts. The recording of music has long since moved from analogue to digital and the technology is now available in domestic equipment. Digital technology and the Internet are providing new means of distribution. Music files are readily downloadable in MP3 format [12] and producers have started to distribute in this or similar formats themselves, although Internet security and e-commerce models remain major issues. The EU project MUSICNETWORK [13] was established in order to help bring music into the interactive multimedia era. Its Working Group Music Libraries exists to help music libraries (including music documentation centres, broadcasting and orchestra archives, music-related museums and archives, and other collections) keep pace with technological, legal and standardisation developments. It addresses topics like metadata, information retrieval and digital library developments in a series of workshops and meetings, provides state-of-the-art analyses, and disseminates information about new developments and tools. Its website contains information on, for example:

· notation – including issues relating to the accessing of notation via electronic devices;

· standards – proprietary and non-proprietary;

· protection – copyright, IPR, content protection mechanisms e.g. encryption and watermarking (see also the guidelines on Legal and rights issues and Security);

· distribution – including business models (see also the guideline on Business models), new technologies and distribution media (mobile environments, Web services, XML, Web-TV and streaming), content protection aspects applied to on-line distribution systems, content information retrieval (metadata management), legal issues, and the quality and accessibility of music distribution services;

· imaging – covering the digitisation, representation, restoration, image processing and automatic transcription of music documents, i.e. digitising paper-based music scores and manuscripts. The digitisation of music manuscripts requires Optical Music Recognition (OMR) technology [14];

· accessibility - provision of music for the print impaired in the digital age.

Digital photography Back to Scope

Digital cameras have revolutionised the way photographs are taken and used. It is now very easy to add photographs to websites etc., but there is a threat from the fact that photographs have become ephemeral and disposable. The possible shortage of physical photographs in the future would be a loss to historical archives.

Broadcast material Back to Scope

Broadcasting is of course a delivery channel, but the content contained in programmes is material in a multimedia format. Cultural heritage institutions need to co-operate with audiovisual concerns such as film producers and broadcasting companies to ensure that films and radio and TV programmes can be digitised, preserved and made available for future use. Most television and radio is now actually produced in digital format. TV companies such as the Netherlands Institute for Sound and Vision [15] are working on strategies to preserve hundreds of thousands of hours of broadcast material in authentic ways.

Standards and interoperability Back to Scope

Because of the variety of formats available, standards are needed to ensure interoperability and to combat obsolescence. (See the guidelines on Digitisation and Digital preservation for information on format and media standards.) The existence of an international professional association is generally acknowledged as important at both international and national levels, serving as a focus for setting standards, as well as for co-operation and professional development. Examples in the audio-visual field include:

· IAML, the International Association of Music Libraries, Archives and Documentation Centres [16];

· IAMIC, the International Association of Music Information Centres [17];

· FIAT/IFTA, the International Federation of Television Archives [18];

· EBU, the European Broadcasting Union [19];

· IASA, the International Association of Sound and Audiovisual Archives [20];

· FIAF, the International Federation of Film Archives [21];

· AMIA, the Association of Moving Image Archivists [22].

Geographic Information Systems (GIS) (see also the guideline on Content and context management) Back to Scope

Much cultural content has an association with a place. This association may be where an item was found or collected, where it was manufactured or used, or the geographic location depicted in an image. Geographic Information Systems (GIS) are systems that are designed to store, check, manipulate, analyse, retrieve and display place-based information. They consist of hardware, software, and data that can be combined to create a relational database to be used for the retrieval and analysis of any information with a spatial component. Although GIS is sometimes thought of simply as a map-making tool, it is the capacity of a GIS to store and link to information behind a point on a map that makes it so powerful.

The full analytical capabilities of GIS are only available off-line as these demand high levels of both computing resources and operator skill. In recent years light weight, easy-to-use versions of GIS software have become available for use on the Internet. Web-based GIS may be accessed via PDAs that incorporate GPS receivers to provide a mobile map-based guide or navigation system.

Many online or Internet resources have searchable GIS interfaces. Although the building blocks for public museums, libraries and archives to develop their own local GIS-based services are still relatively complex, it is becoming more feasible to do so, especially in the context of the wider service, technological and licensing environment of a whole local authority.

GIS software may be available to local cultural institutions under licence from their parent body (such as a local authority, national agency or educational institution). It should comply with emerging industry standards from the Open GIS Consortium. [23]

Map and other spatial data is created by taking measurements on the ground with a global positioning system survey, by using photography or satellite images, or by digitising existing maps. It may already be held by local cultural institutions or their parent bodies, or it may be purchased from mapping agencies or created through digitisation programmes:

The construction of a fully functional GIS interface requires attention to the control of terminology for place names (e.g. a gazetteer) and linkage to a controlled set of keys (post codes, grid references etc.) for those places.

As more and more geographic and cartographic data goes over to a primarily digital form museums, libraries and archives will have to grasp the nettle of providing GIS and its supporting hardware to the public. There are however a number of issues that need to be taken into account:

· the hardware for running GIS needs to be powerful because GIS datasets tend to be large and the faster the computer the less time it takes to do the computing and display the results;

· high bandwidth network and Internet connections will be required for the same reasons. Large monitors are desirable, plotters and printers need to be acquired;

· staff will have to be trained or special staff recruited, as most members of the public will not be able to use any but the most basic GIS applications without help. There are some helpful sites available on the Web which staff could use. [24]

Virtual reality (See also the guideline on Interactivity) Back to Scope

Virtual reality (VR) is the simulation of a real or imagined environment that can be experienced visually in three dimensions. It differs from other three-dimensional graphics media in that it is interactive, enabling the user to move around within the space e.g. to tour a virtual exhibition. Three-dimensional virtual reality ‘fly through’ models are used, for example, in the reconstruction of vanished or ruined monuments or in simulating whole areas of an ancient landscape. The Web3D Consortium [25] is working towards creating interoperable standards for 3D technologies: the current standard is VRML (Virtual Reality Modeling Language) (ISO/IEC 14772) [26] and the emerging one is X3D (Extensible 3D) [27].

Visualisation Back to Scope

Visualisation is the term used to describe the use of computer graphics to present and analyse information. Two-dimensional (2D) visualisation includes charts and graphs e.g. pie-charts, histograms, line-graphs, contour plots and scatter plots. Three-dimensional (3D) visualisation uses techniques such as iso-surfaces, 3D vector plots, volume rendering techniques, etc. or a combination of these.

The use of animation adds movement to 3D visualization. For example, “flybys” allow the viewer to see all sides of a static object e.g. a vase, and “motion observation” allows the viewer to watch the object itself move e.g. a machine in action.

Visualisation techniques have all sorts of potential applications. For example they can be used to create visual reconstructions of people or objects from excavated remains, or to see what effect a volcano erupting would have on a landscape.

OpenGL (Open Graphics Library) [28] is currently the established software interface for graphics hardware.

Haptics Back to Scope

Haptics enables users to “touch” and “feel” objects via a computer by using special input/output devices (e.g. data gloves). This adds another dimension to the experience of virtual reality and can be useful for visually disabled people (see the guideline on Accessibility for disabled people). For a discussion of haptics see DigiCULT Technology Watch Briefing no. 13: Telepresence, Haptics, Robotics, April 2004. [29]

Delivery channels Back to Scope

The range of devices, or delivery channels, which can be used to access multimedia services is increasing, and includes 3G mobile phones, PDAs, kiosks, digital and interactive TV and digital media players. Small, often portable devices, can now deliver information and integrate personal services in an electronic format.

Digitisation and the Internet have revolutionised the delivery of multimedia content. Newly emerging technologies now offer museums, libraries and archives opportunities to extend and improve services and to reach wider population groups. It is now possible to deliver services direct to the end user, placing the individual at the centre of current and future developments.

The Internet Back to Scope

Internet penetration in Europe continues to grow rapidly, driven by ambitious European and national targets to deliver all services electronically. Between 2000 and 2004 Internet penetration in the EU grew by 44% to 204 million, almost half the population. However it varies greatly across the EU, from 15% at the lower end (Greece) to 74% at the higher end (Sweden) (September 2004 figures [30]).

The Internet provides a multimedia environment for the enjoyment of entertainment, recreation and the arts, the exercise of imagination and the exploration of ideas as well as for the use of information, news and educational resources. The provision of access to the Internet in rural areas and deprived neighbourhoods in towns will contribute to the fight against social exclusion and create conditions for both economic and social development.

Providing public access to the Internet poses a number of operational issues including:

· filtering or blocking to prevent access to unsuitable sites, particularly for children (see the guideline on Learning);

· downloading material from the web to the computer’s hard drive, or allowing users to use their own floppy disks, raises security issues e.g. the danger of viruses (see the guideline on Security);

· printing – many organisations charge for printouts from publicly available computers. The easiest way to control printing and collect the fees due is to adopt some sort of printserver software and centralise printing to printers under staff control;

· additional software may be required for some services such as downloading and games. Such plug-ins may include Acrobat, Flash, Macromedia, VRML and Real Audio. Some of these need very frequent updating, and some, particularly those used to download audio and video, are bandwidth-heavy and may involve long download times. Headphones need to be provided if downloading of sound files is permitted;

· a booking system may be needed to control the use of computers. Consideration needs to be given to the length of sessions, the number of sessions per day/week which can be booked by the same person, advance reservation systems and who is eligible to make bookings;

· a policy may be needed regarding the level of assistance which will be provided to computer users. E-learning packs could be provided, online tutorials signposted, staff could give introductory help just to get people started, or run full-scale training courses either free or for a fee;

· e-mail is an important means of seeking information and making contacts e.g. for lifelong learners. Allowing users to set up personal e-mail accounts raises administrative and financial issues. However, access to free web-based e-mail such as Hotmail could be allowed;

· chat lines can also be a very useful source of information although they are sometimes associated with potentially harmful material and “computer addiction”, raising a need for quality control or mediation of the chat lines made available. Similar considerations apply to access to computer games on the Internet.

The Internet can be delivered via a variety of channels including telephone, cable, satellite, wireless and “Web on TV” (or MSN TV - a system that allows users to surf the Internet and send e-mails using their television and a set-top box) (see the guideline on Underlying technologies and infrastructure). Satellite and wireless are connecting users in rural and isolated areas, as well as mobile users who can now get access through mobile phones and other portable devices.

There is increasing scope for cultural institutions to develop personalised digital services to extend their informational, educational, social and recreational roles using delivery channels like mobile phones, PDAs, and digital or interactive TV.

Digital TV Back to Scope

Television is a technology familiar to everyone and presents no problems for technophobes. Digital TV provides access to many more channels than earlier systems and thus offers an opportunity to deliver more local services directly into homes. Interactive TV allows the viewer to interact directly with TV broadcasts, to play games, or send messages. Although digital TV is still very new, there are estimated to be over 32 million digital receivers in use in Europe, of which at least 25 million have interactive capability. Digital TV is expected to continue to develop over the next few years. Decoding boxes for analogue TVs are now relatively cheap, making access to digital services easier and cheaper.

The European Commission is supporting the use of open and interoperable standards for interactive digital TV, including the Multimedia Home Platform (MHP) standard [31]. Launching the communication [32] on this, Enterprise and Information Society Commissioner Olli Rehn said “Digital television networks (satellite, terrestrial and cable) have the potential to offer delivery of multi-media information Society services, alongside 3G mobile and other networks, and we welcome all future investment in this important technology”.

Cultural heritage institutions should be aware of the possibilities of taking advantage of the medium, perhaps by broadcasting information appearing on their authority's existing websites e.g. details of local public services, councillors and MPs, learning, health and care, leisure and sport and local organisations.

With hundreds of television channels broadcasting all hours of the day, there is a demand for material. The extensive collections of art, documents, film, photographs, printed material and sound held in museums, libraries and archives make them major potential content providers to the media. Raw content in a digital form can be made available, but also the added value of subject expertise needed to present and interpret it. Digital TV can be used to reach wider audiences, develop niche markets, and potentially bring financial returns.

It is possible that digital TV may become the most popular method of accessing the Internet. A new user community could come into being, such as home users who are unwilling or unable to invest in computer technologies, but do wish to watch the TV. Also the TV tends to be available in the living room and more readily accessible than a PC. New 3G mobile phones can also support broadcasting.

At present web surfing on a TV is possible but in a more limited fashion. For example, the input device is not usually a mouse; the tab key on a key board may have to be used, or some kind of remote control. Therefore information designed for this type of access may need to be more like text TV services, where users scroll through a selection of menus until the desired page is reached.

Television tends to be a watch-only medium. However, technologies are emerging which allow writing to the web, which will transform web-enabled television. It will be possible for museums, libraries and archives to write directly to the web using TTW (Through-the-Web) editors or other content creation tools such as Wiki or Blog. A Content Management System (CMS) combined with a TTW authoring tool allows users to edit content on the web without the need for complex technical skills. For a description of TTW technology see Through the Web Authoring Tools by Paul Browning [33].