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This study aims to explore how metadata have been applied in GLAM (galleries, libraries, archives and museums) institutions in New Zealand (NZ) and to analyse its overall quality with the interoperability of the metadata element set especially in mind.

The first stage of data collection involved an analysis of the metadata records from 16 institutions from the NZ GLAM sector to examine the types and extent of metadata used. However, by looking at publicly accessible metadata records, it was impossible to determine the full extent of metadata created, especially when there could be metadata that were kept in‐house. This was complemented with interviewing of staff from the institutions concerned.

The study found that metadata records for digital images in four types of institutions have different emphases on metadata functions and a variety of metadata are not applied on a consistent basis. The lack of technical data in metadata records means that digital visual images are not always well protected. There is a consensus among those interviewed that metadata sharing is important. However, the wide use of a proprietary system which comes with pre‐existing metadata fields could result in a lack of flexibility and a risk that institutions adopt cataloguing practices to accommodating their collection management systems rather than to the requirements for interoperability and long‐term preservation.

In addition to studying metadata quality in GLAM digital image repositories, the study also examined the rationale and factors affecting the current practice via interviews with representatives from the institutions concerned. This shed light on potential barriers to interoperability that warranted further examination.

The purpose of this study is to determine which metadata schemas are used in the museums and university collections of the main universities in Spain and other European countries. Although libraries and archives are also university memory institutions (according to a Galleries, Libraries, Archives and Museums perspective), their collections are not included in this study because their metadata systems are highly standardized and their inclusion would, therefore, skew our understanding of the diverse realities that the study aims to capture.

The analysis has three components. The first is a bibliographic review based on Web of Science. The second is a direct survey of the individuals responsible for university collections to understand their internal work and documentation systems. Finally, the results obtained are complemented by an analysis of collective university heritage portals in Europe.

The results of this study confirmed the hypothesis that isolation and a lack of resources are still major issues in many cases. Increasing digitalization and the desire to participate in content aggregation systems are forcing change, although the responsibility for that change at universities is still vague.

Universities, particularly those with a long history, have an important heritage whose parts are often scattered or hidden. Although many contemporary academic publications have focused on the dissemination of university collections, this study focuses on the representation of information based on the conviction that good metadata are essential for dissemination.

This case study describes Indiana University Libraries' use of Omeka for online exhibits of digital collections.

Omeka is placed in the context of other online exhibit tools being used by galleries, libraries, archives, and museums (GLAM).

Omeka provides many benefits for different types of digital library collection exhibits and different levels of technical expertise but is currently limited in the ability to manage multiple exhibits of separate digital collections.

Describing Omeka in the context of other online exhibit tools shows the need for this kind of evaluation to improve these tools for the GLAM community.

Engaging with digital heritage requires understanding not only to comprehend what is simulated but also the reasons leading to its creation and curation, and how to ensure both the digital media and the significance of the cultural heritage it portrays are passed on effectively, meaningfully, and appropriately. The United Nations Educational, Scientific, and Cultural Organization defines ‘digital heritage’ to comprise of computer-based materials of enduring value some of which require active preservation strategies to maintain them for years to come.

With the proliferation of digital technologies and digital media, computer games have increasingly been seen as not only depicters of cultural heritage and platforms for virtual heritage scholarship and dissemination but also as digital cultural artefacts worthy of preservation. In this chapter, we examine how games (both digital and non-digital) can communicate cultural heritage in a galleries, libraries, archives, and museums [GLAM] setting. We also consider how they can and have been used to explore, communicate, and preserve heritage and, in particular, Indigenous heritage. Despite their apparently transient and ephemeral nature, especially compared to conventional media such as books, we argue computer games can be incorporated into active preservation approaches to digital heritage. Indeed, they may be of value to cultural heritage that needs to be not only viewed but also viscerally experienced or otherwise performed.

This paper aims to examine the fundraising strategy known as crowdfunding because it applies to galleries, libraries, archives and museums (GLAM) and to share a crowdfunding case study experience.

A rich literature review provides the basis for understanding the central issues related to crowdfunding. Survey data provides information about the perception and experiences of other GLAM organizations with crowdfunding, and a case study shares an experience with the fundraising method.

Some GLAM organizations are attempting crowdfunding projects with varied levels of success, whereas others remain unsure but curious. The case study shares one academic library’s direct experience with crowdfunding.

There is little research currently available related to library use of crowdfunding.

This paper provides a resource and research starting point for GLAM organizations interested in the crowdfunding model.

In a comprehensive manner, this article provides much needed research on the current state of crowdfunding as it pertains to GLAM organizations.

The purpose of this paper is to find out the status/levels of using crowdsourcing in galleries, libraries, archives and museums (GLAM) around the globe and to give suggestions on how Indian GLAM can take the benefit of this global trend.

The study is based on the analytical study of the literature available on the embracing crowdsourcing for diverse tasks with special emphasis on the efforts of GLAM domain regarding the development of digital repositories.

Meticulous analysis of literature and case studies give an overview of the diverse practices of public participation/crowd collaboration in the development of digital repositories around the globe. However, Indian GLAM are far behind in adopting such practices.

With the rapid growth in digital information and Web-based technology, GLAM around the world encourage and engage public participation in various digitization projects to enrich and enhance their digital collections and place them on the Web. However, Indian GLAM still refrain to accept and adopt such practices. Thus, this paper will encourage and motivate the Indian GLAM to enrich and enhance their collection with crowd contribution and uploading them on Web.

This is an original paper and has great implementation value. During the study, enormous literature was available on crowd participation in various areas around the globe, as well as in India. International examples of crowd participation in GLAM creation are found in the literature; however, not sufficient evidences are found regarding crowd contribution in Indian GLAM. Hence, the paper, by presenting the evidences of crowd participation in GLAM domain, proposes the Indian GLAM to exploit the benefits of this practice for Indian digital repositories to expedite the creation and development of various national digital repositories.

Due to the impact of the pandemic that enforced mass closures and lock downs, galleries, libraries, archives, and museums [GLAM] institutions around the world were required to re-think how they interacted with the public. As a result of the measures that enforced isolation, distancing, and increased hygiene requirements, the usefulness of virtual technologies as a storytelling medium has come into sharper focus. This chapter will explore the emergence of augmented reality as a viable post-COVID-19 solution to meaningful digital narrative creation and user interaction in the museum environment. This chapter will concentrate on the development of a project between the University of South Australia [UniSA] and the South Australian Museum [SAM] to explore how it might be possible to create sustainable immersive stories within this environment.

The purpose of this study is to offer a checklist that can be used for both creating and evaluating digital collections, which are also sometimes referred to as data sets as part of the collections as data movement, suitable for computational use.

The checklist was built by synthesising and analysing the results of relevant research literature, articles and studies and the issues and needs obtained in an observational study. The checklist was tested and applied both as a tool for assessing a selection of digital collections made available by galleries, libraries, archives and museums (GLAM) institutions as proof of concept and as a supporting tool for creating collections as data.

Over the past few years, there has been a growing interest in making available digital collections published by GLAM organisations for computational use. Based on previous work, the authors defined a methodology to build a checklist for the publication of Collections as data. The authors’ evaluation showed several examples of applications that can be useful to encourage other institutions to publish their digital collections for computational use.

While some work on making available digital collections suitable for computational use exists, giving particular attention to data quality, planning and experimentation, to the best of the authors’ knowledge, none of the work to date provides an easy-to-follow and robust checklist to publish collection data sets in GLAM institutions. This checklist intends to encourage small- and medium-sized institutions to adopt the collection as data principles in daily workflows following best practices and guidelines.

This chapter explores the Aboriginal artefacts ‘clapsticks’ as a form of cultural data – a means of disseminating cultural knowledge in the galleries, libraries, archives, and museums [GLAM] sector. How might alternative methods of curation animate clapsticks as active objects that deliver effective knowledge transfer? This research aims to explore and extend current industry practices of the curation of clapsticks, within the existing parameters of technology, spatial capacity, financial support, and governance as part of the operation of the GLAM sector. The research problem, therefore, explores the past limitations of colonial framing of cultural institutions that once hindered the revealing, the disseminating, and the ‘awakening’ of the complexities of knowledge intrinsic to Aboriginal cultural artefacts. Informal communication with Aboriginal community members and academics was critical to providing cultural context as well as personal beliefs and aspirations vital to conceptualising the future of cultural representation. This investigation explores how a cultural centre offers a space and an opportunity to facilitate the clapsticks datasets in its capacity as a performance-focussed building rather than solely an exhibition space or keeping place. This potential represents a shift in thinking around the clapsticks being a lens through which the stories of Aboriginal culture can be disseminated.