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Programme of training and activities organised at HES-SO, Haute École Spécialisée de Suisse Occidentale (ECAL, EDHEA, HEAD), in the frame of the project Open Science for arts design and music.

Training and presentations

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Date Title Convenor Target audience
November 15-16, 2022 Training to Research ECAL & Head-Genève MA students
November 22, 2022 from 12:45 to 13:30 Formation Open Access et ArODES Yoo-Mi Steffen ECAL Staff
March 8, 2023 from 12:45 to 13:30 Formation Open Access et ArODES Yoo-Mi Steffen ECAL Staff
March 21-23, 2023 Training to Research ECAL & Head-Genève MA students
November 21-22, 2023 Training to Research ECAL & Head-Genève MA students
January 25, 2024 Open Access training Matthieu Putallaz EDHEA staff
March 25-27, 2024 Training to Research ECAL & Head-Genève MA students
May 16, 2024 Open research data: pratiques et défis pour les domaines artistiques Design et Arts visuels Musique et Arts de la scène Constance Delamadeleine and Grégory Raube with Patrick Keller, Lucie Kolb and Patrizia Munforte, Nicolas Nova, Laurent Berger and Iolanda Pensa HES-SO, discussion day
November 26-27, 2024 Training to Research ECAL & Head-Genève MA students
December 6, 2024 Open Access training Matthieu Putallaz EDHEA staff

Case studies

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Series "Visual Archives", ECAL HES-SO


Title: Series “Visual Archives”
Proposed by: ECAL/Ecole cantonale d'art de Lausanne - HES-SO
Disciplinary field: design
Communication support : print publication, digital publication
Type of content: text, photographs
Timeframe of the project: 2017–ongoing
Author(s): various authors
Third-party copyright owners: museums, private collections, archives
Grantmakers, sponsors or other funding agencies: ECAL, HES-SO strategic fund

Series “Visual Archives”

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“Visual archives” is a book series co-published by Triest Verlag, Zurich and ECAL. Launched in 2017, the series features the results of research projects initiated and carried out at ECAL. It aims at exploring the archives of authors, designers and brands. Each volume is published in two different editions (English as main language, with a second edition in another national language), on such topics as Vico Magistretti, Eugen Gomringer, Bobst Graphic and Hermann Eidenbenz. Books published after 2024 will be released in open access to comply with funders' requests. In view of this move towards open access, the question arises as to whether to open also previous publications in the series, and how to then proceed.

Problems/questions

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  • How to open a printed publication retrospectively
The guidelines offer a best practice to turn closed access publications into open access retrospectively
  • How to deal with copyright clearance of third parties materials
Guidelines: 4.4.1. Copyright clearance and personal data
DMP: Training and awareness in research data management planning, EDHEA HES-SO


Title: DMP: Training and awareness in research data management planning
Proposed by: EDHEA, The Valais School of Art
Disciplinary field: visual art, design
Communication support : DMP templates, training formats
Type of content: artwork, performance, photography, sound, illustration, text, video/audio recording
Timeframe of the project: 2022–ongoing
Author(s): Jelena Martinovic, Kate Espasandin, Dr. Jean-Paul Calbimonte and Prof. Alexandre Cotting
Third-party copyright owners:
Grantmakers, sponsors or other funding agencies:

DMP: Training and awareness in research data management planning

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The case study "DMP: Training and awareness in research data management planning" builds on the ongoing activity of data management plan (DMP) trainings for research staff at EDHEA, organised by the Institute of Visual Arts (Jelena Martinovic) and the library services (Kate Espasandin) in collaboration with data specialists from the HES-SO Valais-Wallis RDSN network (Dr. Jean-Paul Calbimonte and Prof. Alexandre Cotting). A total of 8 training sessions have been scheduled for 2022. Each session is organised around a specific research project (ongoing or in construction) with the aim to complete a DMP which will reflect the evolution and diverse practices of data management in art research projects. At the same time, a series of folders have been created on a password protected HES-SO IT server where data for each project can be stored securely and durably and accessed if needed by third party members. Each training session works with a RSDN developed DMP model (an excel sheet) to answer collectively, step by step, questions related to four crucial aspects: 1) data collection 2) ethics, legal aspects, security 3) data storage 4) data sharing. The training sessions are documented (i.e., minutes, video recordings, notes) with the aim to build an inventory which will reflect arts-specific data management questions and reflect the broader issues at stake with data sharing. The completed DMPs will be made available to all researchers and will be accessible online (via the RSDN network, as well as on an EDHEA webpage).

Problems/questions

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  • DMP template: How to develop an art-specific DMP model
Prepare your Data Management Plan (DMP) for Arts, Design and Music

Data Management Plan (DMP) for Arts, Design and Music

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The value of Data Management Planning

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Even if the term data does not always resonate well with the communities of cultural practitioners, creative artists and scholars working in the arts domain, keeping a data management plan (DMP) as a living and evolving document throughout the lifetime of a research project is a useful tool. It gives an opportunity to systematically think through, make decisions about and document inputs, throughputs, and outputs of the project and highlight their important provenance details, legal or ethical challenges or sources of uncertainties. It is a roadmap that facilitates a shared understanding within the project (even in case of a solo project, like writing a dissertation) over which resources will be used, curated and produced during the project, how to backup and store them in a secure way, how to select resources for publication, in which forms and formats to publish them, what are the outputs that need long-term preservation and sustaining and how to document them and what are the associated costs and efforts.

Data Management Plans as a funding requirement

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Increasingly, keeping a DMP alongside research projects is becoming a condition of funding by many research funders, such as SNSF or Horizon Europe.

Data Management Plans required by SNSF
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Since October 2017, the submission of a data management plan (DMP) has been mandatory in most funding instruments. The SNSF also expects that data produced during the research work will subsequently be publicly accessible in digital databases, provided there are no legal, ethical, copyright or other clauses to the contrary (source). The SNSF DMP is relatively short: its expected length is about 2 pages of text in total, answering 10 questions, plus 2 checkboxes (source). It consists of four sections: (1) data collection and documentation, (2) ethics, legal and security issues, (3) data storage and preservation, and (4) data sharing and reuse.

You can find further information, FAQ guidelines and contact to support services under the following links: https://www.snf.ch/en/FAiWVH4WvpKvohw9/topic/research-policies

https://www.snf.ch/de/dMILj9t4LNk8NwyR/thema/open-research-data

Video support broken down section by section:

Data Management Plans required by Horizon Europe
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Open Science for Arts, Design and Music/Guidelines/Horizon Europe/DMP

Data Management Plans templates

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Checklist of the most important milestones throughout the research workflow that enable Open Access (and FAIR) sharing of research results and accompanying resources

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  • Terms and conditions requests by grantmakers (examples from SNF, European research programmes)
  • Terms and conditions of your institutions (open access policy, regulations related to copyright, code of conduct, examples from the schools)
  • Terms and conditions of the partner organisations (examples from museums, other universities, NGOs, companies…)
  • Available data storage and other data infrastructure (cloud services such as NextCloud, data repository, OMEKA instance etc.)

Tips

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  • Active involvement of all the project partners is key in a successful implementation of the DMP.
  • Doing research is usually not a linear process. In case DMPs are expected to be updated throughout the project lifetime, it is more than ok to indicate uncertainties, decisions to be made later in the initial versions of DMPs.
  • Indicating costs associated with preservation, publication and sustaining of project outputs is a key component of DMPs. It includes both time and effort spent with e.g. documentation and preparing resources for publication and in some cases also monetary costs. This resource guides you through the cost estimation aspect of DMPs: https://zenodo.org/record/4518901#.YxXxw7RBxD8

Data Management Plans tools

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You do not have to use specific tools while working on project DMPs apart from an empty document but there are available DMP creator resources that systematically guide you through the process, such as:

General approach

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Open by default - open licenses on all content where possible (CC0 for data; CC BY for texts, video, images; CC BY-SA for collaborative projects involving citizens) - OVERVIEW CHART of the CC licenses - which license what is allowed, which research scenario

  • Getting started with rights management FLOWCHART (ongoing project in the middle, backwards: identification of the rights holder, authorization where needed etc.; forward: OA to resulting publications, copyright retention and all the other OA-related issues that are to be negotiated with the publisher.
  • Include the rights management in the project (template)
  • Agreement with institutions - Heritage Data Reuse Charter (template)
  • Agreement with all the project team (including researchers, students, citizens, participants…)
  • Ethics of research and protection of privacy, sensitive data and GDPR
  • Training: How to establish a sustainable training strategy which includes also peer learning methods
  • Data storage: How and where to store training material
Guidelines: 6.3.5.a Share your training material
Training (in Italian): Il diritto d'autore nell'insegnamento e l'Open Access, di Suzanna Marazza, 2023.
EPoD: bringing together OA research outputs with a traditional publication, EDHEA HES-SO


Title: EPoD: bringing together OA research outputs with a traditional publication
Proposed by: EDHEA, The Valais School of Art
Disciplinary field: visual art, design, theory
Communication support : print publication, videos
Type of content: artwork, photograph, text, video
Timeframe of the project: 2020-2022
Author(s): Federica Martini, Julia Wolf, Kadiatou Diallo, Caterina Giansiracusa, Petra Köhle and Nicolas Vermot-Petit-Outhenin (status March 2022)
Third-party copyright owners: edition fink (publisher), League of Nations archives (partner), authors
Grantmakers, sponsors or other funding agencies: HES-SO

EPoD: bringing together OA research outputs with a traditional publication

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The case study explores the results of the research project EPoD – esthétiques politiques du don au Palais des Nations, and focuses on its various outputs. The entire body of data produced by the research team includes video and audio materials, in various forms and stages of editing, texts, photographs, and installations. How and whether these materials will be made accessible to the public is still an ongoing conversation. The publication brings together on the one hand, photographs taken at the Palais des Nations in Geneva between October 2020 and January 2021 as part of the EPoD research project and, on the other hand, contributions by various authors who produced texts based on specific collections from the League of Nations archives – with a particular focus on the gifts made by member states to help decorate the Palais des Nations after its construction. The publication aims to explore the relationship between diplomatic language, political interest, and the incoming aesthetic of the gifts to the Palais des Nations.

Problems/questions

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  • Visibility and accessibility: How to improve visibility and accessibility of open access publications and materials
  • Publishers: How to negotiate with publishers and raise their awareness about the benefits of open access
Guidelines: 6.2. Negotiating for open access
  • Multimedia: How to include different degrees of open access multimedia material in a digital publications
Guidelines: 6.4. Models of innovative publications: accommodating multimedia in open access
Training: (Un)limited Options – Open Access and multimedia publications, by Friederike Kramer, Universität der Künste Berlin, 2024.
  • How to maintain control over open access material and check its further use by the public
Guidelines: 1.2.3.h. What if someone does something with your CC-licensed work you disagree with?

Outcome

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Womanhouse Open Access publication, EDHEAA HES-SO


Title: Womanhouse Open Access publication
Proposed by: EDHEA, The Valais School of Art
Disciplinary field: visual art
Communication support : print publication
Type of content: photography, illustration, text, video
Timeframe of the project: 2022-2023
Author(s): Federica Martini, Julia Taramarcaz, Lynne Littman, Chloé Vauthey, Olivia Fahmy, Cecilia Canziani (translation of a text published in 2021), Rebecca van Ohner (translation of a text published in 2018), Amelia Jones (translation of a text published in 2016), Elisabeth Lebovici, Giovanna Zapperi (reproduction of a text published in 2017), Nicole Schweizer (reproduction of the original French version of an essay published in German in 2009), Griselda Pollock (translation of a text published in 1999)
Third-party copyright owners: archives, museums, publishers
Grantmakers, sponsors or other funding agencies: La Ville de Martigny

Womanhouse Open Access publication

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This publication was initiated during the 2021 Womanhouse exhibition at the Manoir de Martigny. It offers a series of previously unpublished archival documents about feminist exhibition practices between 1971 and 2021. It is a dialectical and open publication which aims to assess historical feminist questions’ resonance with and relevance to contemporary artistic and curatorial practices.

Divided into three sections, this book opens with two previously unpublished essays on the Manoir de Martigny exhibition and historical exhibitions (1971-72) organised by the Feminist Art Program (FAP) at CalArts. This section also features a written conversation with film-maker Lynne Littman, author of the documentary “Womanhouse is not a home” (1972) and an essay on the notion of domesticity/domestication following recent trends in migration and intersectional feminist studies. The second section of the publication explores a larger context to what Griselda Pollock calls “the feminist interventions in the histories of art” by examining international collective feminist exhibitions from the 21st Century.

Problems/questions

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  • Third parties content: How to clear the copyright and negotiate reproduction rights of third parties' materials
Guidelines: 4.4.1. Copyright clearance and personal data
  • Translation: How to deal with the translation of copyrighted texts
  • Publisher: How to negotiate open access with publishers and raise their awareness regarding benefits
  • Funding: How to fund an open access publication
Guidelines: 7. FUND your research

Outcomes

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  • Some articles are accessible online on ArODES, but they are not released with an open licence.
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