The Linked Digital Future initiative was launched in 2018 to promote the discoverability of the live performance sector. After just over four years, has this discoverability challenge remained just as critical? Or has increasingly advanced Artificial Intelligence (AI) solved the problem for us?
Read moreIndigenous artists have historically been underrepresented or inaccurately represented in library catalogs and in knowledge sharing platforms such as Wikipedia. The latest report from the Linked Digital Future Initiative addresses this issue in relation to Wikidata, an open knowledge base that is part of the Wikimedia movement.
Read moreCAPACOA is thrilled to announce that the LIVE Performing Arts Directory is now (in fact) live!
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2021-2022 was another great year for the Linked Digital Future Initiative.
In spite (or because) of the pandemic, we achieved significant progress in the production of open metadata about named entities in the last year. The number of artists in the Artsdata knowledge graph increased by 108%. The number of organizations, by 163%. And more data population activities are underway to increase the amount of data about places by at least as much. Moreover, we are finally looking forward to shifting the focus back to event metadata now that the sector is fully reopened after two years of running closures.
Metatada means “data about the data”. In the performing arts, metadata can provide useful descriptive information about artists, organizations, venues and performances.
“How could the works of Indigenous arts and culture practitioners be more readily findable to people looking for them over the Web?” There are many potential answers to this question. Yet, each one is dependent on answering another, more fundamental, question: “Who are Indigenous arts and culture practitioners?” or, to be more precise, “how can these practitioners be accurately and respectfully identified as being Indigenous?”
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As we wrap up a busy first phase of the Linked Digital Future initiative, we’d like to share a few successes and lessons learned with the performing arts community.
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Over the last year, CAPACOA and Culture Creates collaborated with the Bern University of Applied Sciences to develop a conceptual model for performing arts data. At the same time, Culture Creates was building the artsdata.ca knowledge graph, and RIDEAU was rolling out the Scène Pro information system. The former assembles data about performances; the latter gathers data about organizations, venues and performing arts productions. What if the two datasets were interoperable and could exchange data? We tried it out.
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“Arts and culture listings are broken. Can open data help to make them better?” wondered Wales researchers from Nesta and The Satori Lab. In their recent discovery report, they concluded:
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We are half-way through the first full year of the Linked Digital Future initiative. Much has been accomplished already. And much has been learned.
In a spirit of openness and collaboration, we would like to share our complete Mid-Year Progress Report with the arts sector. The report offers an overview of what we’ve done and what we are currently up to. The report also includes several lessons learned, two of which I would like to share in this post.
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If you have been reading the Linked Digital Future report or any other literature about digital discoverability, you may have stumbled upon the term “knowledge graph” and wondered what on earth it can be.
Even experts disagree as to what a “knowledge graph” actually is. In simple terms, one could say that a knowledge graph is the combination of two things:
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