Antal Dániel | Antal Dániel honlapja

Udmurt Történeti Fotógyűjtemény

Tue, 31 Mar 2026 14:00:00 +0000

The Udmurt Historical Photographs Collection is a growing, open, and linked collection of dispersed historical photographs of Udmurt people and places in Udmurtia. We bring together relevant photographs (or their digital surrogates) and aim to place them under the care of the Udmurt community and researchers of Udmurt cultural history.

Our goal is to identify relevant photographs and provenance information in Estonian, Finnish, Hungarian, and other collections, and to validate, enrich, or repair this knowledge with the contribution of Udmurt communities.

For example, the reverse side of one photograph contains a difficult-to-decipher location (“Gombur-Gurt” and “Medemuka”) written in phonetic German transliteration. The image, labeled simply as “Udmurt woman,” belongs to a series in the photographic collection of the Estonian National Museum, where provenance is limited and some elements were removed in the 1950s by Soviet censorship.

Can we identify who this woman was? Where the series was taken? Who the photographer was? And can we locate missing images from the same series in other collections?

Answering these questions requires knowledge of the Udmurt language and historical cartography. Solving such cases can clarify the provenance of individual photographs and help recover dispersed or lost materials. Our collaborative work with Wikimedia Hungary and Udmurt communities demonstrates how this process can be carried out.

Short summary

Federating Open Knowledge through Wikibase: The Case of The Finno-Ugric Data Sharing Space

Thu, 05 Feb 2026 00:00:00 +0000

Ez a tanulmány a Finnugor Adatmegosztási tér (FUDSS) tervezését és korai megvalósítását mutatja be. Ez az adattér egytöbbnyelvű, közösség által vezérelt prototípus a kulturális örökségi adatok intézményi és földrajzi határokon átívelő összekapcsolására. A FUDSS-t nem egy kész infrastruktúraként, hanem egy tervrajzként és feltáró modellként kell értelmezni – minimális erőforrásokkal, de a zenei metaadatok irányításával kapcsolatos korábbi munkánk alapján, amely mind állami, mind magánszereplők bevonásával készült. Ezt a kísérleti környezetet használjuk fel a meglévő finnugor tudásrendszerek strukturális problémáinak áttekintésére: a Wikipédia lív és mari kezdeményezéseinek negatív eredményei, a diaszpórikus tudás szétszóródása és a nemzeti GLAM infrastruktúrák korlátai. Az empirikus szakirodalomra és saját irányítási gyakorlatunkra építve egy könnyűsúlyú, föderális infrastruktúrát javasolunk, amely a Wikibase-re és a nyílt ontológiákra épül, és lehetővé teszi a többnyelvű szókincsek, a kontextuális annotációk és az etikus adatösszekapcsolás használatát anélkül, hogy ellaposítaná a helyi ismeretelméleteket. A szetu textilgyűjtemények és a Hõimulõimed többnyelvű dalgyűjtemény esettanulmányai szemléltetik, hogyan támogatja a prototípus a kulturális rekonstrukciót és a részvételen alapuló gazdagodást. Bár adatterünk egyelőre nem intézményes megoldás, a DSS bemutatja, hogyan szolgálhat egy szemantikailag gazdag, közösségalapú modell szélesebb körű alkalmazások tesztalapjaként az alacsony léptékű kulturális ökoszisztémákban.

Open Access Music Dataspaces – Open Music Observatory

Thu, 20 Nov 2025 11:00:00 +0100

Panel topics
How does music shape the social and cultural fabric of Europe? What can patterns of music consumption reveal about policies, inclusion, and everyday life? Music is not only a mirror of culture, but also a living indicator of how communities evolve and interact. Today, the growing availability of music-related data opens new perspectives to understand the social value of music and its potential to build fairer and more sustainable ecosystems. When used responsibly, data can help policymakers, researchers, and professionals identify gaps, measure impact, and support better decision-making. By turning open data into collective knowledge, projects like OpenMusE aim to bring more transparency, visibility, and fairness to Europe’s music landscape, bridging analysis, policy, and creativity. Can data really become a common good for music? And how can openness drive the next phase of Europe’s cultural development?

The presentation introduces the Open Music Observatory (OMO), a federated, open-data infrastructure designed to repair long-standing metadata gaps in Europe’s music ecosystem. Building on the vision set by the feasibility study for the European Music Observatory, we show how fragmented, hidden, restricted, and unharmonised data can be aligned through shared standards and collaborative curation. Using Slovakia as a pilot case, we demonstrate how public and private stakeholders can jointly improve the visibility of national repertoire, reduce metadata errors that cause lost royalties, and strengthen cultural diversity in streaming and discovery systems.

We will present the OMO federation model, its Slovak deployment (SK Music Dataspace), and the ways institutions and developers can interact with the system: manual curation via Wikibase interfaces, automated ingestion through APIs, and compliant AI access through the Model Context Protocol. The talk highlights how interoperable data supports fairer recommendation systems, better attribution, improved royalty flows, and new research possibilities—illustrating how open, ethical data infrastructures can help smaller repertoires thrive in a globalised digital marketplace.

Wikibase as a Data Sharing Space: Connecting Rights, Communities, and GLAM through Federated Infrastructures

Fri, 31 Oct 2025 18:00:00 +0000

In our use scenario, Wikibase Suite provides a federated data-sharing space between Wikimedia projects, Europeana, and other trusted partners.

From the perspective of Wikidata and Wikimedia Commons, it serves as a staging area and alternative incubator for datasets that are still under review, have mixed rights status, or originate from specialised community archives.

Key Ideas

Federation: connects open and restricted databases while preserving provenance.
Rights management: allows data to be public domain, under Creative Commons, or shared via local “use policies” such as non-commercial only.
Knowledge stewardship: supports community-led peer review for small or specialist domains that fall outside general Wikimedia governance.

Examples

The Finno-Ugric Data Sharing Space integrates recordings, images, and linguistic data for Livonian, Võro, Seto, and Mari communities.
The hudobnadatabaza.sk aims to provide access to all music ever made in Slovakia, weather in print sheets loanable in libraries, webshops in CD or sheet format, or song streaming on Spotify.
The Wikimuseum exhibition model allows GLAM institutions and citizen scientists to co-curate collections without physically moving artefacts.

Simple cultural objects, like photographs can be licensed with simple, standardised license statements, music, video recordings of events may have a bundle of rights that need more careful modelling. There is a lot more than CC-BY-SA to opening up open culture for wide audiences.

Next Steps

Align our Wikibase Ontology with the Wikidata:WikiProject Ontology/Cleaning Task Force to provide better mapping of cultural objects, permissions, duties and rights related to their use.
Improve our exchange mechanism with Wikidata and Wikimedia Commons.
Design better quality checks for the data.

Livestream recording

You can watch the presentation here:

Brace for Impact: Trustworthy AI for Good

Thu, 30 Oct 2025 14:15:00 +0000

At ImpactFest 2025, Reprex joined the expert session “Brace for Impact: Trustworthy AI for Good.”
The discussion explored how knowledge graphs and open, interoperable data can empower AI and data-driven applications that serve both public good and private innovation.
This continues our long-term collaboration with ImpactFest, where Reprex won the Audience Prize in 2022.

Key Idea

Data is only as powerful as it is trustworthy. Reprex promotes the use of knowledge graphs to connect open and proprietary data in transparent, reproducible ways that benefit both business and society.

Next Steps

Develop responsible AI applications built on shared, standards-based data.
Expand partnerships with European innovators in open and trustworthy data ecosystems.

WikiMuseum = GLAM Wiki + Wikibase + Data Sharing Space

Sun, 28 Sep 2025 14:00:00 +0200

14:30–15:00 Our presentation took place in the session
GLAM Cooperation and Community Exhibitions at Wikimedia CEE Meeting 2025 in Thessaloniki.

We invite Wikimedia communities, data curators, AI specialists, GLAM partners, and digital humanists to join us in building a multilingual, interoperable Wikimuseum and extending the Finno-Ugric Data Sharing Space.
👉 Read more about this data sharing space

Our talk introduced the Wikimuseum concept: collaborative, multilingual exhibitions that bring together museum objects, archival documents, photographs, and private collections into Wikimedia-powered virtual showcases. As a case study, we presented the Livonian garment exhibition, where dispersed artefacts from Finland, Estonia, and Latvia were digitally reunited for the first time in a century.

We also showed how this approach interlinks with the Finno-Ugric Data Sharing Space (FUDSS), a demonstration of a rather complex system built around open knowledge graphs and a showcase of a particularly challenging data governance and curation use case involving FAIR and SAFE standards, different jurisdictions, rarely used languages.

Our federated Wikibase-driven dataspace designed for small, endangered, or diasporic heritage communities. The DSS applies the European Interoperability Framework to cultural data, connecting CIDOC-CRM museum records, DCTERMS library metadata, and Wikibase lexemes, while respecting local epistemologies and multilingual vocabularies.

Highlights

How joint Wikimedia exhibitions allow GLAM institutions and citizen scientists to co-curate without moving artefacts physically.
How multilingual Wikibase lexemes and semantic interoperability support endangered languages like Livonian, Võro, and Mari.
How a Wikibase Suite and Lexeme can provide for an alternative incubator for small communities with modern AI support.

The Wikimuseum Livonian clothing exhibition demo: Traditional Livonian Clothing

Next steps

Extend the Livonian and Seto exhibitions with more garments, and photographs.
Extend our music collections and publish ethnomusicologically relevant datasets.
Align the Wikimuseum model with the ECCCH Heritage Digital Twin Ontology.

Livestream recording

You can watch our presentation here, with two of us slightly pale with the virus that went around in the conference rooms:

Workshop on Metadata Sharing for Small Labels, Libraries, and Collectors

Fri, 12 Sep 2025 15:00:00 +0200

Join us on 12 September 2025 at the House of Hungarian Music, Budapest for a hands-on workshop on how small labels, music libraries, and private collectors can connect their catalogues and archives to the new Open Music Europe / OpenMusE data sharing space.

We will show how the Slovak and Hungarian music data spaces — federated through the Open Music Observatory — make it easier to:

Share and repair metadata across archives, libraries, labels, and streaming platforms
Use identifiers (ISRC, ISWC, VIAF, etc.) to improve visibility and royalty distribution
Manage voluntary deposits and digital surrogates for private collections
Connect local catalogues to international platforms like Spotify, YouTube, Wikidata, MusicBrainz

Who should attend?

Independent and small labels seeking better visibility in digital distribution
Music libraries and archives aiming for cross-platform metadata integration
Private collectors interested in digitising and sharing their holdings responsibly

Why attend?

Learn how open-source tools like Wikibase make metadata sharing affordable and sustainable
Discover how services such as Unlabel help bring hidden catalogues into global circulation
Network with peers from Hungary, Slovakia, and beyond who face similar challenges

The event language is Hungarian, with support available in English. Further reading: A szlovák adatkicserélési tér magyarországi föderációjának lehetőségei; Federating the Slovak Music Dataspace: Replication in Hungary

Practical details

📅 Date: Friday, 12 September 2025
📍 Location: House of Hungarian Music, Városliget, Budapest
🕑 Time: 10:00–16:00 (followed by informal networking)

Participation is free, but registration is required as places are limited. The language of the event is Hungarian. We appreciate if you write on the registration form a few sentences about what you collect, what type of collections you manage, and what is your primary interest.

👉 Register here (link to be added)

Linking Garments to Knowledge: TextileBase as an Interdisciplinary Graph for Dress and Textile Research

Mon, 01 Sep 2025 00:00:00 +0000

Cikkünk azt mutatja be, hogyan lehet a tudásgráf által biztosított tudás interoperabilitásával javítani az öltözködéstörténeti és textilipari kutatásokat. A digitális kulturális és történelmi adatok növekvő elérhetősége nem jár együtt a használhatóságuk hasonló mértékű növekedésével. Ezért a keresési sugár kiterjesztése a tudományterületek és országok közötti gyűjteményekre a tudás harmonizációját és interoperabilitását igényli. A Reprex létrehozta a TextileBase-t – egy tudásbázist, amely teljes mértékben interoperábilis a könyvtárakkal, levéltárakkal, múzeumokkal, a Wikidata nyílt tudásrendszerrel és a nyílt tudományos adattárrendszerekkel. A cikk kiemeli a keresések megfogalmazásakor és a terminológiai eltérések kezelésénél figyelembe veendő kulcsfontosságú szempontokat annak biztosítása érdekében, hogy az ország-, nyelvi vagy tudományterületi határokon átnyúlóan dolgozó adatszolgáltatók megértsék a kívánt jelentést. A releváns történelmi ruhadarabokat említő szöveges források könyvtárakban, a kortárs ábrázolásokat tartalmazó archívumokban és az új műtárgyakat tartalmazó múzeumi gyűjteményekben való kereshetőség javítása és egyszerűsítése érdekében a TextileBase az adatokat és metaadatokat tudásmeghatározásokká alakítja, a kifejezéseket egy nemzetközileg ellenőrzött szókincshez kapcsolja, és gondosan összehasonlítja a különböző kutató- és gyűjteményi intézmények munkáit.

Federating Music Library Data in Hungary – A Call to Action

Mon, 21 Jul 2025 08:45:00 +0200

How can music library services be modernized to compete with platforms like Spotify, YouTube, or Apple Music Classical? How can we make it easy for music students, educators, amateurs, or professional musicians to find the sheet music of a piece that interests them? And how can schoolchildren explore the music of their town or region—with the help of local musicians, teachers, or librarians—given the limited financial resources of university and public libraries worldwide?

Our tools are open-source and free to test, and we are happy to support those interested in exploring them. We are also planning a meetup in Budapest at the end of August or beginning of September to discuss these ideas further with IAML Hungary members.

🇭🇺 Olvasd magyarul el ezt a bejegyzést - Hungarian version of this post.

Daniel Antal, co-founder of Reprex, originally presented at the IAML 2025 Congress alongside librarian Anna Mester and Anna Žilková, head of IAML Slovakia. Their presentation and poster explored the legal, organizational, and information science aspects of the data-sharing infrastructure behind the Slovak Comprehensive Music Database (SKCMDb). A year earlier, the Hungarian professional community encountered this work at the Networkshop 2024: Digital Transformation of Education, Research, and Public Collections conference, in the talk and paper titled A szlovák adatkicserélési tér magyarországi föderációjának lehetőségei [Opportunities for Federating the Slovak Data Exchange Space in Hungary].

At the IAML Congress, we invited international partners to test, critique, and help develop a live demo service. Thanks to Salzburg’s geographical and cultural proximity, we were joined by many Hungarian colleagues.

The Reprex team is explaining our collaborative work to music metadata experts in Salzburg. Photo: Anna Žilková.

Our project’s ambitious goal is to make all music created within the territory of present-day Slovakia accessible through a semantic database. This includes a user-friendly graphical interface for individuals and API access for libraries and other institutions. The database connects known works and their variants, manuscript and published scores, and demo, archival, and commercial recordings. It also links composers and performers to secondary sources in libraries and archives that provide musicological context.

In Slovakia, we are integrating materials from the Music Fund, the Slovak Music Centre, and the SOZA database (sister organization to Artisjus). This enables us to substantially improve the data quality of public music library catalogues, which often lack detailed, work-level descriptions of scores. Metadata is frequently incomplete, outdated, or even incorrect. For example, a catalogue may refer to a composer’s “collected works” or “selected sonatas,” but rarely indicate which edition contains a particular sonata or movement a listener may have just encountered on a streaming playlist.

Our poster presented by Daniel Antal, Anna Márta Mester (librarian-data steward) and Anna Žilková (chairperson of IAML Slovakia) on 8 July 2025 on IAML 2025. You can download our poster in PDF here.

Our Salzburg presentation explored key questions:

How does data governance work between private and public organizations—such as between a rights management society or streaming platform and a university or public library?
How can we reduce redundant workflows through data exchange?
How can deeper, semantically enriched search improve music library services?
What transferable insights from information and library science can help libraries, archives, museums, and private actors mutually improve their data?
The development of this system is supported by the European Union’s Horizon Europe programme, through the Open Music Europe project. Our aim is to offer a federated, decentralized alternative to the centralized but never built European Music Observatory model—one that builds on existing national, regional, and pan-European data systems in a networked way and leaves data ownership and control in place following the subsidiarity principle.

Sneak peak: http://135.181.91.51:3007/en/

If you care about interoperability, cultural equity, and the future of library relevance in the streaming era—this is your moment to get involved.

Missed IAML2025?
👉 Presentation
👉 Poster
👉 Please contact us directly to try out our system.
👉 Blogpost about the wider context of our work, relevant for IAML, not only national chapters and invidivual members.

TextileBase: Introduction

Thu, 10 Jul 2025 15:00:00 +0200

The July 10 is a hybrid event that you can attend either in person or online. Please register via the contact form or via email. For those who cannot visit this event, we offer an alternative online webinar. (Please fill out your availability here). The start time is 15.00 Central European Summer Time, 14.00 GMT and 16.00 EET. If you physically attend, please arrive a few minutes early.

We warmly invite colleagues, friends, and stakeholders interested in cultural heritage data, digital humanities, and AI-supported research to a light and lively summer seminar on three interconnected initiatives.

Our main focus is on TextileBase – our linked open data platform for dress history
We show a glimpse of our futuristic multi-modal, multi-language graph with data, images, music, audiovisual Finno-Ugric Data Sharing Space, as a way to connect clothing history into a broader regional knowledge platform.
And the Wikimuseum concept for wider impact, co-curated collections and exhibitions.

This informal gathering is not about theoretical publications (although we’re happy to send you preprints!). It’s about showcasing how things actually work, especially when archival depth is shallow and data quality is mixed. There’s a big difference between writing about data integration in a computer lab — and actually building tools that work for researchers and cultural institutions across languages, countries, and platforms.

Topics For Discussion

Each speaker will present a short, live demo or walkthrough (10–12 minutes), followed by Q&A and a casual hybrid meet-up.

Daniel Antal: What is TextileBase? Connecting knowledge across museums, archives, libraries, repositories, Europeana, ECCCH, Wikidata.

Anna Márta Mester: Technical, but not Deep Dive: Using the Wikibase Suite, SPARQL endpoints, and Sampo-UI for comfortable scholarly research.

Ieva Pigozne: Use Case: From years to weeks — how Latgalian data curation paved the way for rapid digitisation of Seto and Livonian datasets. Sneak peek: Finno-Ugric clothing.

Kata Gábor: AI for Cultural Heritage: From multilingual NLP to image annotation and ontology enrichment in noisy or sparse data environments.

Asmah Federico: WikiMuseum: A vision for co-curated, multilingual virtual exhibitions with dispersed physical collections.

Wikibase Interfaces

Entry examples from Linked Open Datasets on Garments from the Latgale Region, from right to left: Q142, Q180, Q179, Q181.

In machine-readable format: https://reprexbase.eu/textilebase/Special:EntityData/Q180.ttl

SPARQL Endpoint

We will place here a few sampe querries:

Latgalian Garments Dataset

Sampo UI

We are going to unveil a similar interactive website on the webinar to the OperaSampo; TextileBase will run on Sampo, following dozens of successful digital humanities projects.

TextileBase

Thu, 10 Jul 2025 10:40:00 +0200

Press `F` on your keyboard

Enter full screen mode: on your keyboard

Full screen: F or Overview: Esc
forward: ️> or [spacebar] | back :️<
home: Home and to the end: End

🖱 blue letters: clickable link

TextileBase https://reprexbase.eu/textilebase/index.php?title=Main_Page
Single item: https://reprexbase.eu/textilebase/Item:Q142
RDF: https://reprexbase.eu/textilebase/Special:EntityData/Q180.ttl or change the .ttl to .json, .jsonld, .nt.
Experimental Semantic browser http://135.181.91.51:3006/en/garments/faceted-search/table?page=0 (may need incognito mode, not “safe” yet, but not harmful to your computer.)

Questions?

Ask: Email | Keybase

Connect: Daniel Antal, CFA | Reprex

Interoperability of Music Libraries and Archives with Public and Private Music Services

Mon, 07 Jul 2025 16:00:00 +0200

16:00–17:30 Our presentation takes place in the session of Music Libraries of Tomorrow: Reaching out to Wider Audiences at the Mozarteum University E.001 HS Thomas Bernhard room.

We want invite IAML members—national libraries, regional centres, municipal collections, and independent music librarians—to join us in building a federated, decentralised European Music Observatory. 👉 Help Us Build a Truly Inclusive European Music Observatory (invitation blogpost)

Our presentation at IAML 2025 introduces the Slovak Comprehensive Music Database (SKCMDb), a national pilot within Open Music Europe. It offers a pragmatic, scalable solution to a widespread challenge: aligning metadata from libraries, archives, rights organisations, and digital distributors without centralisation or heavy infrastructure.

Built on the European Interoperability Framework, SKCMDb creates a legal, semantic, and organisational bridge between institutions like the Slovak Music Centre, SOZA, and public libraries, while also integrating with global platforms like Wikidata and MusicBrainz. We show how library records, music rights data, and streaming metadata can be reused and enriched across systems—supporting discoverability, legal compliance (like local content quotas), and better access to Slovak music.

This presentation will be especially valuable for professionals working in metadata curation, authority control, and digital service design, and those seeking low-cost, high-impact pathways to public-private interoperability in cultural heritage.

Please visit our poster and talk with our team members, Daniel Antal, Anna Márta Mester (librarian-data steward) and Anna Zilkova (chairperson of IAML Slovakia) on 8 July 2025 10:30–11:00 in the Gallery. You can download our poster in PDF here.

Check out the entry examples related to Albrecht’s: Missa in C (printed, Hudobné centrum) with library and webshop access points, and linked data on the composition itself Q479, linked to its recorded manifestations.

Next steps

The Slovak pilot illustrates how libraries and national music centres can take a central role in a decentralised European Music Observatory that federates with the EU Open Data Portal, Europeana, ECCCH, DARIAH, and Zenodo. This poster accompanies a companion contribution on the Finno-Ugric Data Sharing Space, including the LīvMDb (Livonian Music Database), which explores how smaller regional repertoires can be embedded in broader, multimodal cultural graphs—advancing the vision of a European Music Observatory as a complement to the European Cultural Heritage Cloud.

Help Us Build a Truly Inclusive European Music Observatory

Thu, 19 Jun 2025 18:45:00 +0200

Across Europe, music libraries are under pressure: greater expectations for digital services, growing metadata burdens, and increasingly fragmented infrastructure. At the same time, vital parts of our musical heritage—especially regional or minority repertoires—remain hidden from search, discovery, and policy.

Please meet us at 👉 IAML2025 in Salzburg on 7 or 8th July. Our presentation takes place in the session of Music Libraries of Tomorrow: Reaching out to Wider Audiences at the Mozarteum University E.001 HS Thomas Bernhard room on 7 July 2025, 16:00–17:30. The day after you can meet us in the Gallery for the poster session.

We initiated the Open Music Europe project, because we believe that in the music ecosystem, data centralisation always fails, and a new kind of cooperation is needed—one that respects local control while enabling international reuse.

Our Slovak pilot, the SKCMDb, connects libraries, music centres, rights organisations, and platforms through a shared metadata backbone based on open ontologies. Built as a national data sharing space, it enables coordinated cataloguing and discovery across public and private systems—from streaming services and printed scores to CD loans and digital archives.

But we also know that cultural and music policy is not only national. It is often regional, local, or community-based. That’s why we follow the principle of subsidiarity: letting decisions and innovation happen at the lowest competent level, close to the collections and communities themselves.

Our Finno-Ugric Data Sharing Space, including the LīvMDb (Livonian Music Database), shows how even the smallest communities—without formal cultural infrastructure—can take part in high-quality metadata production and digital discovery. We provide the tools and models to empower local custodians, in their language, on their terms, and without the need for large institutional support.

Please check out the demo version of the Finno-Ugric Dataspace or read the long-form project description.

Now we invite IAML members—national libraries, regional centres, municipal collections, and independent music librarians—to join us in building a federated, decentralised European Music Observatory. One that reflects Europe’s diversity. One that reduces data curation costs and improves visibility. One that connects music libraries with the open data and open science infrastructures already transforming other sectors.

Our platform is open-source, built on FAIR principles and the European Interoperability Framework. We use tools like Wikibase, Blazegraph, Sampo-UI, and R—packaged to work for libraries with limited technical capacity.

Sneak peak: http://135.181.91.51:3007/en/

If you care about interoperability, cultural equity, and the future of library relevance in the streaming era—this is your moment to get involved.

Not present at IAML2025?
👉 Presentation
👉 Poster
👉 Please contact us directly.

Let’s ensure music libraries remain vital entry points to Europe’s rich and evolving cultural soundscape.

Metadata Groundhog Day: What a Moribound Language Can Teach Spotify and Shopify

Thu, 19 Jun 2025 18:45:00 +0200

And if you want to fix these errors, you may find that you are back to the Data Sisyphus.

When you build systems in the cloud, or in your local architecture, at one point you will realise that naming things — places, people, products — or updating their whereabouts is probably the most time-consuming, most expensive, and most error-prone workflow.

In this blogpost, we want to talk about what seems like the easiest part of a location: the name of the city, town, or village.

Mazirbe Is Missing Again

We recently built a multilingual gazetteer — essentially a reconciled database of place names — for a tiny stretch of the Livonian coast in Latvia. At first glance, this might seem like a project rooted deeply in the digital humanities.

But here’s the twist: the very same problems we tackled here are the ones plaguing the music industry, global e-commerce platforms, and enterprise software stacks.

This is Gross-Irben 👉 Lielirbe / Īra / Irben / Suur-Irben 👉 Familiar with RDF: see in TTL; Klein-Irben will be near Gross-Irben, and Irē is almost Īra!

Mazirbe is a small, big place. It definitely exists, and it is the cultural center of a small nation: the Livonians. Yet, when you are looking for clothing, music, or photographs that should come from Mazirbe in a relevant database, you often find nothing. Not even the place.

But Mazirbe exists!

Depending on the record, it might appear as:

Mazirbe (Latvian) • Irē (Livonian) • Мазирбе (Russian) • Klein-Irben (German) • Suur-Irben (Finnish-German hybrid) • Мазирбе (Russian) • Mazirbė (Lithuanian)

Meyer‘s Zeitungsatlas 050 – Russland- Gouvernement Sankt Petersburg, Esthland, Liefland, Kurland

This kind of variation isn’t just a cultural footnote — it breaks databases, mismatches search results, and silently corrupts analytics.

If you’re in music metadata, this is your “JAY Z” vs. “Jay-Z” vs. “Shawn Carter” problem.

If you’re in e-commerce, it’s “Red Crewneck XXL” vs. “Crewneck, crimson, 2XL”.

Same data structure. Same unresolved chaos.

A Gazetteer That Works Like Real Life

We created a semantic, multilingual, multiscript gazetteer for the Livonian coast. Each place entry includes:

All known name variants across time, languages, and scripts
Structured links to global authority services (Wikidata, VIAF, GeoNames)
Canonical IDs, multilingual labels, and machine-readable formats (RDF, TTL, etc.)
Context about administrative boundaries, historical changes, and source provenance

Try us:

👉 Mazirbe / Irē / Klein-Irben / Мазирбе / Mazirbė 👉 Familiar with RDF: see in TTL

We published it using Wikibase — the same technology that powers Wikidata. It’s not just a spreadsheet; it’s a small, dynamic knowledge graph.

And we also put it into BlazeGraph, so you can find all these villages — and also the music, the clothing, or photographs that come from them.

So What?

Here’s why this matters outside the northern shores of Kurzeme, or beyond the borders of Latvia:

In global supply chains, location names and vendor names drift constantly. While country boundaries are relatively stable, subnational boundary changes — counties, parishes, provinces, municipal borders — happen thousands of times per year, even within Europe.
In streaming metadata, artists get duplicated, misspelled, or transliterated inconsistently. It’s not unusual to find dozens of same-named artists in a distributor’s or rights manager’s roster.
In CRM systems, customers have multiple entries because of one diacritic. Irē becomes Ire if the user didn’t have ē installed.
In museum heritage databases and webshops, items disappear because their place of origin changed names three times since the accession record was created.

Our little example was created to accompany a digital humanities publication, but it’s not just a “humanities” problem. It’s a cross-sector, multilingual, historical, bureaucratic, data problem.

And we’re all living in it.

Lessons We Took Away

Don’t fight ambiguity. Model it.
Linked data models (RDF, Wikibase) handle aliases and variants with elegance.
Small, local, curated vocabularies can scale conceptually to global systems.
Top-down standardization fails in diverse data ecosystems — context wins.

See It / Fork It / Repurpose It

You can explore the full Livonian Gazetteer here:

Web UI: https://reprexbase.eu/fu/Main_Page
RDF example: https://reprexbase.eu/fu/Special:EntityData/Q4429.ttl
Also check out our TextileBase project — same model, but for 19th-century Latvian shirts and skirts

If your stack includes messy location names, user-generated labels, non-English content, or legacy records — maybe this can help.

And if you feel like you’ve seen this movie before… you have.

It’s Data Sisyphus all over again.

👉 https://reprex.nl/post/2021-07-08-data-sisyphus/

The Concept of a WikiMuseum

Mon, 09 Jun 2025 16:20:00 +0100

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Building Blocks

Wikimuseum: exhibitions, example: Estonian, English and our developing cross-country, cross-institutional exhibition prototype.
The Finno-Ugric Data Sharing Space: description, Wikibase.
Our presented solution and sample virtual exhibitions will be finalised in July-August 2025.

Questions?

Ask: Email | Keybase

Connect: Daniel Antal, CFA | Reprex

Our building blocks: Vikipeedia:GLAM and the Finno-Ugric Data Sharing Space

Linked Open Datasets on Garments from the Latgale Region

Mon, 07 Apr 2025 17:00:00 +0100

Entry examples from Linked Open Datasets on Garments from the Latgale Region, from right to left: Q142, Q180, Q179, Q181.

The first published dataset, Linked Open Datasets on Garments from the Latgale Region contains data on Latvian traditional shirts and skirts from the Latgale region in Eastern Latvia. The The female and male shirts, and the skirts in the dataset are handmade and were worn in the 19th century. They represent both festive and daily wear of the local female and male peasants. The shirts are stored at the National History Museum of Latvia and the Ethnographic Open-Air Museum of Latvia. The data contain information on the locality of their origin, their approximate date of creation with various precisions, the materials they are made of, and the way of their fabrication, as well as their purpose of wearing (festive or daily wear) and wearer’s ethnicity and gender. They also include the name of the museum each shirt is stored at, supplemented with its unique inventory number. Data on some sample shirts also include a photo of the shirt.

Check out the properties (relations) in the data model: ListProperties
See every entry in the database: All items

Finno-Ugric Data Sharing Space

Thu, 06 Mar 2025 10:30:00 +0200

We started experimenting with the legal, organisational, semantic and technical challenges of creating a genuinely trustworthy, AI-supported data-sharing space that can find and connect tangible and intangible elements of the Finno-Ugric cultural universes. We were also seeking a better governance model for oversight for the custodians of these endangered, shrinking universes in their language and with little technical knowledge, partly as alternatives to the established Wikipedia to the open knowledge incubation method for small linguistic minorities.

Meet up with some of our team members, Daniel Antal, Britt-Kathleen Mere, Ieva Pigoze, Bogáta Tímár, and Ieva Vīvere during the conference, and do not forget to check out our presentation at the LP05 Session, Digital Insights in Cultural Research, on Mar 6, 2025 10:30 AM — 11:00 AM, or meet up with Kata Gábor and Dániel Antal in Paris, Anna Mester and Mihály Nagy in Budapest in subsequent workshops.

Read more or take a look at our conference poster below:

Download the poster in pdf

See our presentation made in the DNBH 2025 conference in Tartu:

What are the competencies of the system that we are building?

Please check out the demo version of the Finno-Ugric Dataspace or read the long-form project description.

Finno-Ugric Data Sharing Space

Wed, 05 Mar 2025 15:30:00 +0200

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Click through: data and playlists.

Questions?

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LinkedIn: Daniel Antal, CFA | Reprex

SKCMDb Presentation on IAMIC 2024

Thu, 21 Nov 2024 10:30:00 +0100

Today, most music is recommended by algorithms—not only to subscribers of platforms like YouTube and Spotify, but also to radio editors, concert promoters, and festival organisers. This shift has led to the conclusion that collective management organisations (CMOs) and music information centres (MICs) must modernise their metadata and publishing practices to remain visible and competitive in the digital age.

Using advanced data enrichment techniques, our platform helps ensure that these institutions have the most accurate, 360° view of the repertoire they represent. We also ensure that digital streaming services and search engines are updated with precise, reliable, and machine-readable musical metadata.

See our presentation made in the IAMIC 2024 conference in Vienna:

Our goal is to ensure that MICs and CMOs maintain the most up-to-date information about musical works. Whenever data is missing or outdated, we retrieve it from authoritative sources and deliver it automatically into their systems—ready for review by human curators.

We aim to make all music in Slovakia visible across global music discovery platforms, encyclopaedias, Europeana, and the European Cultural Heritage Cloud. This includes helping users locate sheet music for sale or loan, as well as showing where each piece can be heard—whether via streaming, radio, or public archives.

To achieve this, we provide:

We want to ensure that a MICs and CMOs have the most accurate information about music. Whenever data is missing or new information has yet to reach their database, we try to look up the data from reliable sources and ensure that it arrives automatically in their system (to be reviewed by a knowledgeable human curator).
Make all music in Slovakia visible on all global music systems, encyclopaedia, Europeana and the European Cultural Heritage Cloud. Enable people to locate sheets of works for sale or public lending and show where people can listen to the music in various formats.
Provide the information in a dual format: enable a MIC to provide machine-readable, standardised, RDF annotated data to directly support the recommender systems of Spotify, YouTube, Deezer and other platforms.
Provide CMOs with a framework to make their members more visible to digital streaming platforms by enrichment, control and processing of available metadata and to also inform radio stations about the potential recordings that count into their local content, thus promoting local CMO members.

Read more or take a look at our conference poster below:

Download the poster in pdf

Building a music data sharing space with Wikibase

Sat, 21 Sep 2024 14:00:00 +0200

Wikimedia CEE Meeting 2024 (#WMCEE) is an annual conference centered on Wikimedia projects (Wikipedia and other related projects) in countries of Central and Eastern Europe (more recently, also in Central Asia). It features presentations on Wikimedia projects, other wikis, free/open source software, free knowledge and free content, and these topics’ social and technical aspects.

Building a music data sharing space with Wikibase

Sat, 21 Sep 2024 14:00:00 +0200

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What we actually do?

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LinkedIn: Daniel Antal, CFA | Reprex

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Federating the Slovak Music Dataspace: Replication in Hungary

Fri, 14 Jun 2024 14:00:00 +0100

This presentation will be made in the Hungarian language. A similar presentation in English is available here.

Vajon miért nem ajánl a Spotify híres ajánlórendszere Szlovákiában szlovák embereknek elég szlovák zenét? És miért akadoznak az egyébként is nem kielégítő számú meghallgatások után a kifizetések? Ezek voltak azok a kérdések, amelyekre a Szlovák Művészeti Tanács kis összegű ösztöndíjával, a state51 támogatásával a Reprex és a SOZA válaszokat kezdett keresni 2020-ban. Azok az adatproblémák, amelyek a nem kielégítő eredményekre vezetnek, nem csak Szlovákiában, hanem lényegében minden kisebb nyelvterületen jelen vannak.

A Szlovák Zenei Adattér egy Horizon Europe programban finanszírozott mintaprojekt, amelyben különböző közgyűjteményi és magán jogkezelői adatok és metaadatok összekapcsolására kerül sor. Az adatkapcsolás jogi, szervezési és szemantikai megoldásai a zenei területtől függetlenül hasznosíthatók különböző jogi státuszú könyvtári-, levéltári-, múzeumi és magán adatbázisok összekapcsolására.

Az előadás célja kettős volt: egyrészt szeretnénk olyan zenei adattulajdonosokat találni, akik láthatóbbá és használhatóbbá szeretnék tenni a gyűjteményeiket Magyarországon. A másodlagos cél az előadásban bemutatott nyílt forráskodú technikák és nyílt adatok kulturájának a terjesztése Magyarországon.

ELTE Digital Heritage Meetup

Thu, 13 Jun 2024 14:00:00 +0100

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Dataweek²⁴: Data-driven Compliance with the Corporate Social Responsibility Directive

Thu, 06 Jun 2024 16:22:00 +0100

All slides

This is a lightly edited version of the presentation at the Data-driven and Automated Compliance section of Dataweek²⁴ Event page.

It has often been said that ESG reporting is a data problem. If you want to fulfil the new requirements set by the Corporate Social Responsibility Directive, which is a legal act that changes European laws on financial accounting and its audit or assurance, you will encounter a very serious data linking and integration problem. If you have such sustainability bookkeeping, you must be able to factually link your financial accounts to your environmental and social accounts. In simple terms, if you expense the cost of 1 MW of electricity, then you cannot calculate the footprint of 0.98 MW in your sustainability report.

All slides

ESG introduces two related challenges, which are best addressed by explicit knowledge bases, enterprise graphs connected to open knowledge graphs, and data sharing spaces.

The company must be able to collect data and report on other companies and things that happen outside of the boundaries of the company or company group. Such a practice had been in place in some heavily regulated industries; for example, the food industry had to bear a qualified responsibility over the entire food supply chain or the nuclear industry for the lifecycle of the fossile fuels.
The company must also be able to curate trustworthy data about entirely new domains: data about the natural or ecological environment, such as data on biodiversity, recycling, water; and data about the social environment, for example, indicators about affected communities, workers in the supply chain or end users.

Joining a data sharing space is a good solution because the new data requirements are not one-time data upgrades but require a permanent data connection with the ecological and social environment. A company and its ERP system or its key performance management users cannot import new data, such as metadata of the EU Taxonomy regulation, and call it a day. Data curation must be an ongoing activity.

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Most companies import relatively little data regularly, and therefore, they have little experience in data curation, i.e., the art of organising, annotating, and integrating data collected from various sources in a way that is presentable in the form of indicators or can be reused later. Perhaps their bookkeeping needs to import foreign exchange rates regularly if they export or import in their activities. Data curation will become an ongoing activity if they start to monitor and measure the environmental and social environment impacts of their actions.

So, if we agree that joining a data sharing space, i.e., an organisation that has pre-agreed terms and conditions on sharing and exchanging data, with pre-agreed terminology or vocabulary (“semantics”) and technology, the question is, what kind of data sharing organisation is the most appropriate?

The CSRD Directive has industry-agnostic elements, which must be fulfilled in every company, and industry-specific elements, which are being developed as we speak. For example, we work mainly with music and film production, both of which belong to the Media and Entertainment Group, which must apply the same industry-specific variations of the European Sustainability Development Standards. We think that the best is to create industry-specific data sharing spaces, such as the famous Data 4.0 for manufacturing, but allow them to be federated and to exploit further synergies: there are plenty of financial, economic, social or environmental data that are used by other existing data sharing spaces and it is not necessary to curate and produce them in, for example, a music or film-production oriented data sharing space.

Are for-profit and social enterprises technically ready to join data-sharing spaces? Not without help. While some large corporations have explicit knowledge bases and enterprise graphs, most smaller European enterprises do not necessarily have a distinct IT function. It is a simple relational database with a fixed schema if they manage databases. Bringing them on board requires simple systems and assistance.

All slides

Reprex is building a data sharing system, Reprexbase, which is built around Wikibase as a knowledge broker system. Wikibase is the open-source software that hosts Wikidata, the largest open knowledge graph in the world. We extend it with various ETL modules and an ecosystem of peer-reviewed statistical libraries to create scientifically correct impact indicators and benchmarks. These extensions are necessary not only because most enterprises are not familiar with working with linked data or graphs but also because Companies are usually familiar with creating financial indicators (for SMEs, simple accounting indicators, larger enterprises with a controlling function, and more complex indicators) but not with the creation of non-financial statistical indicators. The CSRD directive calls for reporting more than 200 indicators over five environmental and four social matter groups, which is more than a company would have on a balanced scorecard. Reliably producing so many indicators is no small feat.

Large and public companies are directly responsible for CSRD reporting, i.e., integrating financial, environmental and social accounting. They need to improve their bookkeeping or ERP systems because often they do not even organise into a database much of the contents of the current invoices (physical quantities, units), which would allow them to create the factual basis between energy cost, energy use and energy footprint, for example. However, they must ask their suppliers for further environmental and social data. Without readily applicable Digital Product Passports, this is a considerable cost, estimated at around 1500 euros per supplier. If you are a festival organiser or a film producer with hundreds of suppliers, this will quickly pay for a simple data sharing space; if you do it with a cluster in your industry, the costs can be significantly reduced.

Open Music Observatory

Wed, 05 Jun 2024 16:00:00 +0100

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Data Sharing Spaces for CSRD

Wed, 05 Jun 2024 14:00:00 +0100

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Dataweek²⁴: Introducing a new European music dataspace

Wed, 05 Jun 2024 09:30:00 +0100

Daniel Antal introduced on the part 2 of Data Week 2024 and LAILEC the Open Music Observatory, the subjective take of the Open Music Europe consortium on creating a European data observatory with the help of a modern, federated, decentralised data-sharing space that is interoperable with various EU digital services. The short presentation was held in the plenary session (16.00-18.00.)

At 14.00, in the Data-driven automated compliance session (Room Erasmus 3), Daniel spoke about the Sustainability and Innovation pillars of the music observatory in light of the complex compliance issues raised by the CSRD Directive and the difficult-to-access but favourable green financing and insurance opportunities open for the music, film, and another creative sector.

If you are participating in Data Week Part 2 or LAILAC, please join the presentation or have an informal chat at the social dinner. Thanks to KU-Leuven and the Big Data Value Association for the organisation and invitation.

Open Music Observatory: Towards a European Music Dataspace

Sun, 02 Jun 2024 17:00:00 +0100

Check out the full presentation here, or the forming observatory on music.dataobservatory.eu.

Daniel Antal will introduce part 2 of Data Week 2024 and LAILEC, the Open Music Observatory, the subjective take of the Open Music Europe consortium on creating a European data observatory with the help of a modern, federated, decentralised data-sharing place that is interoperable with various EU digital services. The short presentation will be in the plenary session (16.00-18.00.)

At 14.00, in the Data-driven automated compliance session (Room Erasmus 3), Daniel will speak about the Sustainability and Innovation pillars of the music observatory in light of the complex compliance issues raised by the CSRD Directive and the difficult-to-access but favourable green financing and insurance opportunities open for the music, film, and another creative sector.

Hachaton, Registers for Cultural Entities

Mon, 15 Apr 2024 12:30:00 +0100

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From Slovakia Towards a European Music Dataspace

Fri, 05 Apr 2024 12:30:00 +0100

This presentation was made in the Hungarian language. A similar presentation in English is available here.

Hallgass hazai zenéket

Fri, 05 Apr 2024 12:30:00 +0100

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Lightning Talk About the Slovak Music Dataspace

Thu, 04 Apr 2024 18:00:00 +0100

This Lightning talk about the advantages of thinking in datas (sharing) spaces was made in Hungarian for the audience of Networkshop ‘24. For an English language introduction to the topic in the same context see Open Music Dataspace.

ESRS in the Film, Television & Music Industry

Wed, 28 Feb 2024 15:00:00 +0100

Save the date.

IDCC24 Lightning Talk Session

Tue, 20 Feb 2024 16:15:00 +0000

Open Music Europe is a Horizon Europe project that aims to build a working prototype of the planned European Music Observatory.

Interested in our automated data observatories? Let us meet in Edinburgh on the 18th International Digital Curation Conference and discuss who you could use our open-source, collaborative data infrastructure and know-how.

The EU, UN, or other international bodies have recognised or initiated at least 60 data observatories that carry out long-term data collection on various domains; we have not found any good policies or practices on how to place these observatories on data infrastructures that are interoperable towards open science and open government. We are creating a data management and governance model and a working MVP that coordinates data collection and statistical data production among scientific, private and official statistical actors.

Our most crucial pilot project wants to showcase a best practice for using privately-held data, i.e., data of music organisations and surveys carried out by scientific and business actors, to improve the quality of government statistics. We show how the guidelines on using private data as an ‘administrative data source’ and an ex-ante harmonisation of governmental surveys with open scientific surveys can result in high-quality datasets that fully complement the pre-existing official statistical products and commercial products.

As a coordination tool, we started developing a Data Management Plan to increase transparency from the outset. Apart from applying Horizon Europe’s OpenAIRE recommendations and FAIR requirements, we use the Open Policy Analysis Guidelines to bring open science transparency into the less standardised policy analysis area. We implement this following various UN/EU Guidelines on statistical production, creating a three-way reconciliation and interoperability, i.e., scientific research, public policy design and official statistics.

Click through to our working paper (available in PDF, epub, and html).

Our work contributes to sharing outputs earlier using Open Research platforms because we are building a framework supported by research automation that integrates open science, business, and official governmental data. We develop a software ecosystem complementing the R statistical environment and language, the lingua franca of official and scientific statistics, to make the data curation, pre-processing, processing, and eventual quality-controlled statistical data release open, transparent, and much timelier.

Our project follows an open collaboration framework that we design so that private music NGOs and enterprises, statistical offices and open science research groups can work together on the curation and design, production and release and use of data assets in the cultural domain. By opening the statistical infrastructure with our open-source production code and implementing the statistical data and metadata exchange standards simultaneously with other metadata standards and standardisation techniques like ex-ante and retrospective survey harmonisation, we hope to combine them in novel ways like never before while making them available sooner.

https://music.dataobservatory.eu/documents/open_music_europe/slovakia/slovak-cult-stat-pilot.html

Our showcase product will be a twin, linked open data resource: the Slovak Comprehensive Music Database. It will connect in unprecedented detail information about musical works and their sound recordings and notations in music libraries, heritage organisations and individual and collective rights management organisations. We will derive the Slovak Music Industry Registry from this linked open resource that we will convert into a structural business register satellite as an interface between the privately-held data of music management and music heritage institutions and the national/satellite account system of the Slovak Republic, particularly the Slovak Cultural and Creative Satellite Accounts.

Let’s get in touch if you are interested.

Stadslandbouw Den Haag

Fri, 01 Dec 2023 16:30:00 +0100

Ru Wikmann, the co-founder of BeeSage and our Reprex’s partner in piloting the Global Pollinators Observatory and looking for partners for our idea about building a knowledge system that employs millions of bees into monitoring the ecosystem and the downstream of many food value chains.

We would like to find partners for the Dependence of society and the economy on pollinators HORIZON-CL6-2024-BIODIV-01-3 call. For beekeeper and environmental organisations: concept note and for university research partners: CfR.

The film Together We Grow was supplied by The Hague residents and entrepreneurs platform Ons Eten in collaboration with the Food.Film.Fest. of Voedsel Anders. Urban Agriculture The Hague (Stadslandbouw Den Haag) and Ons Eten are both committed to raising awareness about our food system; what do we eat, how good is it for us, where does it come from, does the producer get a fair price, what is needed for production, what is the impact on nature, etc. The films of this festival make you think about these topics and show opportunities.

Let’s get in touch if you are interested.

MusicAIRE: Final Event

Wed, 29 Nov 2023 09:00:00 +0100

Are you participating in the final event of MusicAIRE? Do you want to talk with us about Listen Local, survey harmonisation for the music sector, or preparations for the CSRD Directive?

Let’s get in touch and meet up

More information soon.

Future Proof Film Production Data for Integrated ESG Reporting

Fri, 24 Nov 2023 09:00:00 +0000

Click through to the presentation slides (available in PDF, epub, and html).

Daniel Antal presented the concept of Open Productions for producers and film professionals at the National Film Institute of Budapest, Europe’s largest film production cluster. Our planned project, which received one of the highest scores in the EIT CCI KIC’s Breakthrough Lab and received a conditional funding promise, aims to create an open, computer-actionable knowledge base to support the integration of film production budgeting, rights management, financial bookkeeping and accounting systems with environmental (CO2, H2O, waste, pollution, biodiversity risk map) and social sustainability data (workforce work-life balance, gender pay gap, etc.)

Let’s get in touch!

We are looking for film productions to test our system and report easier, cheaper and better the CO2, H2O, CH4 footprint, tackle their health and safety, gender paygap and royalty management problems.

Open Productins: Integrating Financial and ESG Reporting for Film

Fri, 24 Nov 2023 09:00:00 +0100

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Open Productins: Integrating Financial and ESG Reporting for Film

Fri, 24 Nov 2023 09:00:00 +0100

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Fényképeszek és műtermek adatai kutatóknak

Mon, 20 Nov 2023 15:30:00 +0100

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Kérdezzen: Email | Keybase

LinkedIn: Antal Dániel | Reprex

OpenProductions

Mon, 20 Nov 2023 15:30:00 +0100

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Semantic Enriching of The Historical Photo Collection

Mon, 20 Nov 2023 15:30:00 +0100

See the use case: Open Foto Ateliers

The slides are only available in the Hungarian language.

Categorizing Cultural & Creative Sectors: An Impossible Task?

Wed, 15 Nov 2023 09:00:00 +0100

Daniel Antal, as the co-founder of Reprex is honoured to be invited to the final event of the wonderful Creative FLIP program. Our Digital Music Observatory in many ways gained momentum from the CCS Ecosystems: Evidence-Driven CCI Policy & The Central & Eastern European Music Industry Report discussion in 2020, just before the terrible pandemic hit us all.

Blogpost for discussion: Categorizing Cultural & Creative Sectors: An Impossible Task? Creating a more flexible and useful business and occupational categorisations for the music and film industries.

More than two years have passed since Creative FLIP kicked-off a new project cycle, continuing to pursue its overall goal, to support a healthy ecosystem for the cultural and creative sectors and industries (CCSI). This is how we work – the launch of the online platform on status and working conditions of artists and cultural professionals is only one of many highlights to expect! Cruise along our flagship initiative, Creatives Unite, and discover its new look and tools, engage in discussions about the power of transformation policies, cross-sectoral cooperation, and platforms for peer exchanges. We will inquire if we should categorize CCSI occupations and why we need to talk about social inclusion, sustainability, greening and more transversal topics when discussing the future of the sector.

In this panel on the FLIP FORWARD Final Conference organised together with the CHARTER project (See: Factsheets: Families of competences pdf) we want to discuss the benefits but also the dangers of categorisation related to the self-image, the measurement, but also the visibility of the CCSI: categorisation enables a highlighting of similarities, but it also has the potential to exclude the unforeseen, the evolving, the fringes.

Our discussion will focus on cultural-creative occupations and be organised around the following questions:

To what extent do the categoriser’s viewpoint and goals shape the categories?
What are the limitations and dangers of categorising the occupational scope of the CCS?
Is it possible to develop an occupational categorisation of the CCS that serves all purposes? If not, how do you deal with this dilemma?

Are you in Brussels on 15-16 November? Interested? Get in touch.

Categorizing Cultural & Creative Sectors: An Impossible Task?

Sun, 12 Nov 2023 17:48:00 +0100

I am honoured to be invited to the final event of the wonderful Creative FLIP program. Our Digital Music Observatory in many ways gained momentum from the CCS Ecosystems: Evidence-Driven CCI Policy & The Central & Eastern European Music Industry Report discussion in 2020, just before the terrible pandemic hit us all. Are you in Brussels on 15-16 November? Interested? Get in touch and let us meet at the event.

It is one of our most fundamental cognitive abilities to identify shared features or similarities of objects, events, or ideas and then to group (“categorise”) these to make sense of the world. Without categorisation, learning, language, memory, and decision making (to name a few only) would be impossible. The production of cultural statistics also depends on categorisation, distinguishing what is to be measured and what is not.

Session: Categorizing CCS - an impossible task?

In this panel on the FLIP FORWARD Final Conference organised together with the CHARTER project (See: Factsheets: Families of competences pdf), we want to discuss the benefits but also the dangers of categorisation related to the self-image, the measurement, but also the visibility of the CCSI: categorisation enables a highlighting of similarities, but it also has the potential to exclude the unforeseen, the evolving, the fringes.

Our discussion will focus on cultural-creative occupations and be organised around the following questions:

To what extent do the categoriser’s viewpoint and goals shape the categories?
What are the limitations and dangers of categorising the occupational scope of the CCS?
Is it possible to develop an occupational categorisation of the CCS that serves all purposes? If not, how do you deal with this dilemma?

Are you in Brussels on 15-16 November? Interested? Get in touch.

One of the most fundamental problems of developing creative businesses in Europe and developing public policies to support them is that we have far less business and policy planning information available then any business in fruit farming, manufacturing of cars or providing banking services. Cultural statistics have a very low coverage in music or film. Indicators that an apple producer, a car component manufacturer or a bank supplier can take for granted, such as total or average gross value added in a country, employment, or wage statistics, do not exist.

The lack of statistical coverage makes it particularly difficult for such creative businesses and their industry organisations to comply with the expectations of the Corporate Social Responsibility Directive or participate in the advantages of green financing and the European Green Deal.

The production of statistics for the music or the film industry, like any other industry, relies on three fundamental categorisations:

the categorisations of economic activities that creative businesses and self-employed people do;
the categorisations of their products and services (such as films or sound recordings);
the categorisation of occupations and jobs available or filled with such occupations.

These categorisation do not work well in the cultural and creative sectors, and perhaps in some other services sector either.

To help small enterprises in music or film, we need different data collection and statistical or indicator production procedures and more flexible categorisation processes to support their business development on enterprise or a regional/national level. Photo: Jan Demiralp on Unsplash.

Why normal business and occupation categories fail to work in the creative sectors?

Unfortunately, these categorisations cannot be successfully applied in the music or the film industry for many reasons:

The entities are too small.
They have mixed activities.
They mainly employ people atypically without even checking their formal qualifications.

A small recording studio that works for films or the music industry, or a small company that offers stage or in-studio or on-set lightning typically employs people who learned their skills on the job; they often do various related activities, so their NACE code is not very characteristic. Also, because of their size, they hardly ever participate in governmental statistical surveys.

On a more fundamental level, in the creative industries, the dominant firm size is the microenterprise, where the management functions are usually not specialised and often not filled by people with business administration degrees: they do not have an HR department or even an HR function that would categorise their jobs; they do not have a management controlling system that would rely on a sophisticated bookkeeping or a well-categorised inventory of sales. This is what the International Labour Organization, or employment policymakers, describe as “informal enterprises”: they do not have formal internal structures, processes, and often even contracts that in larger enterprises enable a professional management of product, career, finances, or sustainability.

In Open Music Europe, building on a decade of experience at the Digital Music Observatory, we are using statistical processes and data innovation to serve the needs of the music industry by providing data on royalty collection, marketing, average artist remuneration, or gross value added. Our approach is based on innovative statistical procedures and recent regulatory changes that allow national statistical authorities to embrace them.

We do not have average musician remuneration statistics or gross value-added figures for music labels because even though musicians and record labels participate in the national statistical system, they are invisible as they do not have a clear category. The NACE categorisation system does not contain the activities of the “music industry”, only categories like “audiovisual” or “art performances” categories that mix up the numbers of the music industry with television, video production, or theatres. The same can be said of most occupations where music businesses employ workers or self-employed professionals. Even though they have a chance to participate in statistical surveys, which call upon a randomly selected list of small enterprises (in the case of business surveys) or people (in the case of the labour force surveys), they do not get an appropriate “musician” or “music business” label.

The categorisation or labelling of “performing arts” or “audiovisual” is unsuitable for a musician or filmmaker. If “audiovisual” average wages rise in a region, who are they supposed to know if this is due to outsourcing some film post/production to the region or an uptake in music recording activities? After all, film sound studios and music recording studios work for different markets and employ different people.

On the other hand, many creative industries know who belongs to their industry. Architects usually must fulfil severe qualification requirements and register into a local chamber of architects. Musicians must register with author’s and performer’s collective management societies if they want to receive copyright or neighbouring right royalties. If we can align such representative creative organisations with the statistical processes, we will get indicators that follow relevant categorisations for musicians, record labels or architects.

Several statistical and data innovations can make such an alignment or data coordination possible.

See: United Nations Guidelines on Statistical Business Registers pdf. European Business Statistics Methodological Manual for Statistical Business Registers. 2021 Edition.

Sample surveying, when musicians (as members of the working force) or their enterprises (as small businesses) are selected by a lottery to fill out a questionnaire, had been the most important source of official statistics between 1970 and 2010, but they are less and less used. Before the 1970s, we only had fewer statistics on full census-like questionnaires with no random sampling. In the last decade, we have seen more and more often that statistical offices directly connect to various “registers” or databases initially created for business or tax administration purposes to retrieve the data. Why ask a musician about her royalties if we can access her royalty account directly?

Why ask a musician about her royalties if we can access her royalty account directly? Accessing data that is available in a well-managed administrative source, such as a national royalty accounting system is cheaper, faster and more accurate.

From a royalty account, we can access more precise and timely information than from the memory of an artist.

In the last decade, UNECE and Eurostat have been the forerunners with several European national statistical offices in finding new ways to tap into so-called “privately held” registers, for example, the royalty accounts of copyright management societies, who have a full view of musicians in the country and precise and relevant information about their earnings, and indirectly about their employment or gross value added.

Economy of music in Europe: Novel data collection methods and indicators

In Slovakia, we are working out a process where the register and framework of the official data collection could be aligned with a private register set up by the music industry’s nationally representative stakeholders. Such a scheme would have many advantages both for the private and the public parties:

The collection of the statistical data would be faster, cheaper and more precise.
The data could be securely mapped to and from the NACE/ISCO categorisation used by the government and the relevant categorisations used by the music industry.
Whenever the music sector – a relatively minor part of the services business sector – would be under-sampled in a statistical survey methodology to produce reliable, music sector-specific data, additional, harmonised surveys or administrative data could ensure that minimum amount of music enterprise and musician data is present for quality-controlled statistical indicators.
The music businesses could professionalise their company planning HR processes, and, critically, have relevant benchmarks for environmental and social sustainability management; they could participate in the European Green Deal.

Are you in Brussels on 15-16 November? Interested? Get in touch!

Cover photo by Clem Onojeghuo on Unsplash.

Roundtable Discussions on Greening European Film Policy

Tue, 06 Jun 2023 10:00:00 +0200

Greening European Film Policy (GEFP) explores the burgeoning field of environmentally sustainable - ‘green’ - production in the European film industries. The project views green production as both an ethical proposition and a means to ensure the competitiveness of the European film industry - under which we include film, television, and streaming media. We position green production as a unique and as-yet unexplored competitive advantage for the film sector, where advanced development, embedding, and dissemination of green production practices is a crucial factor in maintaining the competitiveness, if not the very viability, of the European film industries.

GEFP focuses on mapping ongoing policy initiatives for green production and evaluate how the dynamics of top-down governance and horizontal policy and communication incentivise, deploy, and assess on-the-ground practice. We collaborate with key stakeholders across the UK and European green film and television sector, including policymakers, environmental consultants, production companies, and creatives to provide policy recommendations to incentivize a more sustainable sector.

Daniel Antal, CFA, was participating in the panel presentations and discussions on behalf of Reprex and presented the ideas behind the Eviota project.

The Budapest event was orgnanised by Dr Pietari Kääpä, University of Warwick, Policy Support Fund, Laurent, and GreenEyes Productions.

Questions for Film Funds and Policies

What are the current norms regarding funding and policy requirements around sustainability?
What challenges do you face in implementing or imposing sustainability policies?
Are there ways in which you might benefit from more communication or understanding of on-set experience from a sustainability POV?
Are there ways in which you might benefit from more regional or international collaboration, or is funding an inherently localized issue?
We mainly talked about sustainability from a production POV so far, where do you think featuring it as part of the storyline has relevance / potential? Is the film fund considering similar changes to what happened internationally (BFI, Eurimage etc.) where the funding applications require to elaborate on any planned sustainable practices?
What models do you think work well in other countries, that you think would be realistic to implement in the region and what is needed in order to implement it?

Adatterek

Tue, 04 Apr 2023 18:00:00 +0100

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Kérdések?

Kérdezz: Email | Keybase

LinkedIn: Antal Dániel | Reprex

Sustainability measurement and reporting for the CFO

Fri, 10 Mar 2023 11:00:00 +0100

The Eviota project aims to create sustainability reports connected to the financial accounts of companies, NGOs, and civil society actors. The first phase concentrates on greenhouse gases and air pollutants. We want to create reliable estimates of the carbon and other pollutants footprint of music-related (social) enterprises based on their spending (“connected financial and sustainability reporting”.)

Reporting the impacts of the entire value chain.

16:30: Meet and greet
17:00: Short presentation
17:15: Discussion of your reporting

The discussion will be based on the accounting documents sent to us in advance. We will create a first version of a simplified sustainability report about your music or film company (for profit, or non-profit.) we will not share any financial information in the meetup, only visualizations of risk heatmaps, and common reporting and sustainability problems.

Why connect to your accounting software?

The accounting system already records all those economic events that may have an impact on how your company, directly or indirectly, causes greenhouse gas emissions, uses precious water, or may help to close (or, accidentally, widen) the gender pay gap.

As soon as the modification of the EU accounting directive take effect, you will have to connect your financial accounts to your sustainability reporting.

No extra management time is needed: it is already recorded by every company’s accountant. The general ledger is recorded by your accountant. We start from the annual summary of supplier and buyer ledgers, or the trial balance that has this information.
It is not subjective. It states exactly what you were spending on.
It is more or less standardized across Europe—and almost all countries of the world, with the exception of the U.S. and some other countries. It is easy to reconcile with US GAAP based documents.
We need to use the same working document that your accountant uses to maintain an important objectivity criterion: connectivity.

This way your annual report will be consistent, if you say in the financial part that you spend 1000 euro on energy, then we will calculate the greenhouse gas emissions based on KWh volume of the the energy that cost you 1000 euros.

New trends in controlling: the strategic and digital challenge

Wed, 08 Mar 2023 16:30:00 +0100

Reporting the impacts of the entire value chain.

16:30: Meet and greet
17:00: Short presentation
17:15: Discussion of your reporting

Why connect to your accounting software?

As soon as the modification of the EU accounting directive take effect, you will have to connect your financial accounts to your sustainability reporting.

No extra management time is needed: it is already recorded by every company’s accountant. The general ledger is recorded by your accountant. We start from the annual summary of supplier and buyer ledgers, or the trial balance that has this information.
It is not subjective. It states exactly what you were spending on.
It is more or less standardized across Europe—and almost all countries of the world, with the exception of the U.S. and some other countries. It is easy to reconcile with US GAAP based documents.
We need to use the same working document that your accountant uses to maintain an important objectivity criterion: connectivity.

Sustainability measurement and reporting for the CFO - the case of the music and film industries

Wed, 08 Mar 2023 15:00:00 +0100

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Key Takaway for the CFO

"The basic accounting and reporting principle of materiality is extended. I need to keep an eye on accounts that have an economic, sustainability, or dual materiality."

Introduction 2. Our Approach 3. Case Studies with company reports 5. Main Features 4. Connected Financial and Sustainability Reporting 5. Why are we developing it? 6. Is There a Film/TV Industry Version? 7. Questions

Introduction

Timeline

2019: European Green Deal and Sustainable Finance Disclosures Regulation.

2020: 2030 EU climate target (-55%); EFRAG to standardize connected financial and sustainability reporting (IFRS, GRI, SASB/IIRC, TCFD, WICI, UN).

2021: Strategy for financing the transition to a sustainable economy; CSRD announced (changes in EU accounting and audit law); Reprex Eviota concept based on our iotables 0.4.7, which was updated with environmental impact analysis.

2022: EU Taxonomy (“Climate Delegated Act” see: FAQ). Reprex Music Eviota with MusicAIRE and wins Hague Innovators Award Audience Prize; Horizon Europe Research & Innovation winner.

Future Timeline

2023: Corporate Sustainability Reporting Directive (CSRD); first 50,000 companies apply the new rules for the financial year 2024 (report in in 2025.) Investors, banks, insurance companies, granting organizations, corporate donors, even audiences want to see more and more proof of conducting sustainable business.

2024: CSRD for the first 50,000 companies.

2025: First mandatory connected reporting for 50,000 large companies and listed SMEs.

2026: The European Commission plans to extend the EU taxonomy to six environmental objectives and rules for about 50,000 companies by 2026. Many small companies will have to make mandatory disclosures and reporting.

Sustainability Reporting Architecture

Our approach

Cultural & Creative Sectors Industries Approach

Double Materiality

Our approach to data quality: do not waste time, energy, data curation/ingestion/acquisition on items that are likely immaterial, unless any significant information arises that they may become material in the future.

Case Studies

A38 is one of the world's premiere music venues. With more than 500 hundred events a year, and more than 50,000 hours of music documentaries and live streams recorded in its studios, it a powerhouse of European music in a converted Ukrainian icebreaker ship floating on the Danube. It won the Lonely Planet Best Bar global vote. Make sure to visit them if you are in Budapest.

GreenEyes Production is a Hungarian startup that helps international film production according to the UK and US sustainability management standards, and works with Reprex to build an EU-compliant tool. They work on large international productions in Budapest (the biggest film production hub in the EU), and Prague.

Passeum [not added yet] is a music ticketing company.

Main Features

Connected Financial and Sustainability Reporting

In 2020 the European Commission requested technical advice, mandating the European Financial Reporting Advisory Group, EFRAG, to undertake preparatory work for the elaboration of possible EU non-financial reporting standards in a revised EU Non-Financial Reporting Directive (i.e., harmonizing financial reporting and audit with connected sustainability reporting) within the framework of the European Green Deal sustainable finance package and the Corporate Social Responsibility Directive.

Ongoing Standardization

🖱 Link: EUROPEAN LAB – Project Task Force on Preparatory Work for the Elaboration of Possible EU Non-Financial Reporting Standards

Why Are We Developing Eviota for Music?

CSRD/EFRAG Timeline in the EU

Is There A Film Industry Version?

Yes, it is coming! Ask for a demo on Email | Keybase | LinkedIn.

Questions?

Ask: Email | Keybase

LinkedIn: Daniel Antal | Reprex

Data Observatory Labs

Thu, 02 Mar 2023 18:12:00 +0100

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Short Conceptual Video

WP Project Coordination

1. Reprex aims to coordinate this project with a dedicated, experienced Creative Europe project manager who is familiar with the music and audiovisual creation.

2. Because of the project size and subsidy rate (60%) every partner must contribute to financing WP Project Coordination in proportion to their effective subsidies.

WP Sustainability

Extend the usability of Eviota (a Scope 2-3 music ESG reporting tool) and GreenEyes (Scope 1 film ESG reporting tool) to work with music, film, books, and publishing.
Introduce these new methods to business school and vocational training courses.
Get regulatory approval to use in the context of the green finance package.

WP Survey Recycling

Utilize the survey harmonization and recycling tools developed in music to be available for film, television, photography, and book publishing users.
Extend harmonized question banks, and remove interoperability and semantic barriers to reuse data from previous audience and policy surveys for these CCSIs.
Subsidize the initial costs in use to transfer from non-reusable market research to reusable, collaborative market research.

WP Heritage Reuse

Utilize the best practices from music archives, film archives, and private photography archives to remove copyright law, ethical, interoperability, and semantic barriers to mix archival/heritage and new content in music, film, and photography (including in books.)
Create a special-purpose record label and audiovisual distributor that specializes in difficult, out-of-commerce/archival/commercial derivative work distribution on global streaming platforms.
Build a best practice for the legal and ethical public performance of derivative works that are made from archival/heritage (which were not deposited with the intent to be commercially used or widely circulated) and new creations.

WP AI & Big Data That Works For Everyone

Utilize the best practices from data feminism, music, and film distribution of niche, marginalized content, and create a general framework that reduces inequalities created by lower data representation (of women, small countries, small languages) that result in new injustice on algorithmic platforms. See publication.
Build new music, film, and photography information services that reduce the data imbalances, and make small language (for example, Estonian) or historically underrepresented (for example, female artists) more likely to be recommended by AI-driven algorithmic platforms such as YouTube, Spotify, or Amazon.
Create open source solutions and open knowledge that enables small, independent music, documentary, photography, and book publishers to build audiences, and monetize content with big data and AI algorithms that work for everyone, not only male artists, English language content, and mainstream works.

Questions?

Ask: Email | Keybase

LinkedIn: Daniel Antal | Reprex

Music Eviota

Tue, 28 Feb 2023 11:13:00 +0200

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Introduction 2. Our Approach 3. Main Features 4. Connected Financial and Sustainability Reporting 5. Why are we developing it? 6. Is There a Film/TV Industry Version? 7. Questions

Introduction

Sustainability Reporting Architecture

Our approach

Main Features

Connected Financial and Sustainability Reporting

Ongoing Standardization

🖱 Link: EUROPEAN LAB – Project Task Force on Preparatory Work for the Elaboration of Possible EU Non-Financial Reporting Standards

Why Are We Developing Eviota for Music?

CSRD/EFRAG Timeline in the EU

Is There A Film Industry Version?

Yes, it is coming! Ask for a demo on Email | Keybase | LinkedIn.

Questions?

Ask: Email | Keybase

LinkedIn: Daniel Antal | Reprex

Music Eviota

Tue, 28 Feb 2023 11:13:00 +0200

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Start: Home | Finish: End
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🖱 Highlighted text: clickable link (to our project page.)

Introduction 2. Our Approach 3. Main Features 4. Connected Financial and Sustainability Reporting 5. Why are we developing it? 6. Is There a Film/TV Industry Version? 7. Questions

Introduction

Our approach

Main Features

Connected Financial and Sustainability Reporting

Ongoing Standardization

🖱 Link: EUROPEAN LAB – Project Task Force on Preparatory Work for the Elaboration of Possible EU Non-Financial Reporting Standards

Why Are We Developing Eviota for Music?

Is There A Film Industry Version?

Yes, it is coming! Ask for a demo on Email | Keybase | LinkedIn.

Questions?

Ask: Email | Keybase

LinkedIn: Daniel Antal | Reprex

Surveying Better Gender Diversity Within the Music Industry and Audiences

Tue, 22 Nov 2022 09:09:00 +0100

In this case study, we will collect responses in English and Italian among music professionals and fans on LineCheck, and compare their answers with 10,000s of answers from their countries, from other occupational groups, and other countries.

How to fill out this survey?

EN on Google Forms (will be our free tool)
IT su Google Forms (sarà il nostro strumento gratuito)
SurveyMonkey can be more suitable for more languages.

Tartalomjegyzék

What are the benefits of recycling and harmonizing surveys?

Surveyharmonies allows you to make more, bolder, and better-supported statements for your argument. Our technology vastly improves the quality and the inferential capacity of your surveys.

Retrospective survey harmonization means that your answers (we surveyed about 1500 music professionals in 2019) can be compared with other respondants (for example, the same questions asked in Eurobarometer from more than 30,000 people.)

Who we are asking?

We are asking music professionals in almost 100 artistic, technical or managerial roles. The way we form the questions make your answers comparable to the worlds largest database of musicians’ (anonymous) income and working condition database, and many non-music specific survey programs, such as Eurobarometer or the European Values Survey.

What are we asking?

We are asking questions that have been asked before. We created a small demonstration survey to show how we can better understand gender diversity in the music sector. We will anonymously record your answers, and connect them to the answers of more than 28,000 people who answered these questions earlier.

How to fill out this survey?

EN on Google Forms (will be our free tool)
IT su Google Forms (sarà il nostro strumento gratuito)
Both lanugages on SurveyMonkey (free for now)

In your opinion, are inequalities between women and men nowadays very widespread, fairly widespread, fairly rare or very rare in the country where you live?

This question was asked in the

Eurobarometer 82.4 survey

Eurobarometer 82.4: The European Parliament, Autonomous Systems, Gender Equality, and Smoking Habits, November-December 2014.

This means that we can compare what different occupational groups, men and women, different age groups answered to this question.

And within the music business or music non-profit sector of your country?

We are asking And within the music business or music non-profit sector of your country, are inequalities between women and men nowadays very widespread, fairly widespread, fairly rare, or very rare in the country that you chose (where you live and work?) to gain more insight about the potential differences within the music sector and the country where the music professional lives.

Works best if you use this from music professionals and non-music professionals in the same country.

In your opinion, in your country, in the year around 2030, do you think that …?

The image of women will be less stereotyped in the media (compare)
Men and women will earn the same pay (compare)
Men will take care of more household and family tasks (compare)
Women will be more represented among Heads of State and government (compare)
Women will be more present in traditionally masculine professions (compare
Acts of violence against women will have decreased (compare)
Women’s rights in developing countries will be better recognised (compare)

This question was asked in the

Eurobarometer 72.2 survey in 2009.

Eurobarometer 72.2: Nuclear Energy, Corruption, Gender Equality, Healthcare, and Civil Protection, September-October 2009.

This means that we can compare what different occupational groups, men and women, different age groups answered to this question. In 2009, 2030 was a long way many years ahead, but not any more. We could ask this question in two different ways again. We could ask what people think about 2040 to have a similar perspective, or re-ask how they think about 2030 which is only 8 years away by now.

See our earlier blogposts:

Reprex

Sun, 20 Nov 2022 15:42:00 +0100

MTPA MeetUP

Antal Dániel, CFA - Reprex

2022. december 12.

reprex.nl/slides/reprex-mtpa-2022/

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Data observatory 3.0

A Reprex közös adat ökoszisztémákat kínál olyanok szervezeteknek, akik nem képesek adat specialistákat foglalkoztatni állandóan:


🌳 Olyan szervezetek, amelyek nem rendelkeznek adat szakértőkkel, és nem képesek hosszú távon adatgyűtjési programokat és adatfeldolgozást végezni.
🪴 Nem képesek adat mérnököket és adattudósokat, statisztikusat foglalkoztatni állandóan. (KKV, NGOk)
🌱 Nincsen állandó IT funkció a cégben (kb 20 million európai kisvállalkozás és civil szervezet)


	Az Európai Unió, a Világbank, az OECD és az ENSz több mint 80 úgynevezett ‘data observatory’ platformot, hogy segítse az érdekelt vállalatokat, kutatókat, NGO-kat, kormányzati szereplőket abban, hogy szisztematikusan gyűjtsenek adatokat és rendszerezzenek, osszanak meg tudást.
	Jelenleg a European Music Observatory prototípusán dolgozunk az Európai Bizottság támogatásával (cc 3-4 million euros.) Később hasonló obszervatóriumokat tervezünk más kreatív szektorokban is.
	Az obszervatóriumaink azért kompetitívek, mert magas minőségű, open source tudományos szoftverekre épülnkek, és kihasználják a Data Governance Act és az Open Data Directive előnyeit, valamint a web 3.0 technikai lehetőségeit.

Hogyan célszerű rendezvényekről gondolkodni?


🌱 Eviota 🖱 click Olyan adatbázisokat építenek-e, amelyek kihasználják az Open Data Directive és a Digital Data Governance (data altruism) előnyeit, és integrálják az adófizetők pénzén már összegyűjtött, vagy a felhasználók által adományozott adatokat?
🧾 Az adatbázisok manuális munka nélkül, számítógépek automatiálzt kommunikációjával szinkronizálhatók-e más adatbázisokkal (Linked Open Data, RDF, web 3.0 vagy szemantikus web)?.
🧾 A strukturáltan gyűjtött adatok (kérdőívek a közönség körében, vagy más szisztematikusan gyűjtött kérdőívek) fogalmi és kérdőív-struktúra szintjén harmonizáltak-e más azonos adatokkal (pl. A közönség kérdőív az országban elérhető más kérdőívekkel? A rendezvény adatai megfelelnek-e a schema.org vagy más szabványosító szervezet rendezvény adatainak?)


🎶 Surveyharmonies 🖱 click is our first experimental product that allows you to recycle surveys from all over Europe.
☑️ You ask questions about gender inequalities in many languages (try it EN IT and you get responses from your audience and more than 30,000 other people in various occupational groups all over Europe.
☿️ Join our pan-European gender inequality survey in January 2023.


♯ Listen Local is a 🖱 click trustworthy, ethical AI-powered system that aims to help great artists in small organizations and small countries using big data.
🎶 Our Listen Local Apps want to make sure that local ecosystems are not colonized by global platforms.

Big Data Creates Inequalities

Only the largest corporations, best-endowed universities, and rich governments can afford data collection and processing capacities that are large enough to harness the advantages of AI.

Data problems


	The cost of questionnaire-based market research (survey) is increasing exponentially and offers mediocre results without an enormous question bank and harmonization with other surveys.(See 🖱 blogpost)
	Manual data acquisition is an error-prone and boring task for humans that requires many working hours (often not credited in consultancies, law firms, or research institutes.)
	Wrangling spreadsheet tables or word processor documents by people without data knowledge is the 🖱 data Sisyphus.

Platform products	Value added data applications
The European Union, the World Bank, OECD, and UN have facilitated the creation of more than 80 so-called ‘data observatories’ to help companies, researchers, NGOs, and governments systematically collect data and knowledge.	The different observatories offer different types of knowledge products, such as statistical yearbooks, various apps, and database access.
Most of them use web 1.0 technologies, inefficient knowledge accumulation. Already 20 of them have been discontinued.	We are developing software solutions that exploit our platforms: we harmonize surveys, statistical data, automate research reporting, elements of market monitoring or ESG reporting.
We are currently building one prototype for the European Music Observatory financed by the European Union and music industry players (cc 3-4 million euros.) We would like to take over existing or start new observatories in 2 years at least 5)	Each observatory gives us intimidate customer access to 3-4 large universities, 1-2 large consultancies, and various specialist institutions.

Dutch AI Coalition


💻 Reprex is a member of the Dutch AI Coalition 🖱 click and we help building algorithms that work for all, small and large music organizations, non-profits and commercial ones.
♎ Reprex believes that unequal access to data, data know-how and tools creates inequalities in the benefits in AI.
🚀 Our Listen Local Apps 🖱 click want to make sure that local ecosystems are not colonized by global platforms.

Questions?

🖱 Click the blue links | email | keybase

Reprex: Daniel Antal | Gabija Liaugminaitė | Reprex—big data that works for all

Listen Local Nederland, Utrecht, NL

Thu, 03 Nov 2022 17:00:00 +0000

We will carry out the research outlined in our feasibility study within the [OpenMuse] project from 1 January 2023 in an open collaboration with cultural policymakers, the local music ecosystem, and open source developers. Our partner, MXF tries to put the findings into actionable data services in Lithuania and Ukraine with the help of MusicAire. We develop open tools that can be applied in Utrecht, the Hague, Budapest, Tallinn, Vilnius, Bratislava, or anywhere.

This is a past event. Check out our forthcoming events or write to Daniel Antal or to antaldaniel. Or send an email.

Our ongoing project since 2014 is Listen Local. We would like to find out how can a local music ecosystem, or a small scene avoid being colonized by global players on streaming platforms, radio, or in-store music. How can we make sure that music recommendations connect bands in Utrecht with fans in Utrecht? If a Polish band is visiting Utrecht, music lovers will find their show?

We are arriving at opening to Klein Berlijn at 17.00 where you can sit down with a coffee or a beer to chat. No reservation needed. At 19.30 we are getting on our OV fiets and cycle over to the Vechtclub where we will meet people of the local indie scene, Tiny Rooms, and see two independent bands on stage.

As the sales and promotion of recorded music get fully automated, and even the curation of music for live events gets more and more influenced by machine learning outcomes or social media metrics, how can a DIY label remain relevant? How you can run a small club or a label without having to invest in a multi-million euro data engineering team? Make sure that the algorithm will learn successfully your music offering.

‘I feel at home where people care’ Read Gabija’s interview and check out the band with us.

Reprex’s motto is big data for all. We want to fight data inequalities, data monopolies, and make big data and AI work for self-released artists or small labels, too.

Gabija and Daniel are visiting Utrecht to meet DIY musicians, labels, researchers, fans and friends to find new partners for our Listen Local projects. On an intellectual level, we are interested in trustworthy AI, data feminism, and providing a proper digital representation to music and live performances for all. On a more emotional level, we want to meet musicians and music lovers from the indie scene.

We want to help independent artists to find their next audience, and fans to find their next favorite record or a truly fulfilling live music experience. Gabija had a conversation with The Kurws in our Listen Local Interviews series. She asked the band about where they are coming from, where they want to go? Where they are local? And what they have to offer to the people who will join us on 31 October 2022 in Utrecht?

Check out our projects

Digital Music Observatory and Listen Local
Cultural & Creative Sectors and Industries Observatory and short call for potential partners.
Make interviews, get interviewed, write blog posts, or syndicate our content to and from Data & Lyrics.
Don’t forget to vote for Reprex in the Hague Innovators Award competition 2022. The audience voting starts on 1 November 2022.
Download our submission for the competition.
Get in touch!

Daniel Antal (Reprex) EHV Innovation Café Breakout

Thu, 03 Nov 2022 16:00:00 +0000

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20,000,000 SMEs and countless NGOs without data engineers

Further information

Read more: Digital Music Observatory | Listen Local
Longer feasibility study: Feasibility Study On Promoting Slovak Music In Slovakia & Abroad
Scientific version: Ensuring the Visibility and Accessibility of European Creative Content on the World Market

Questions?

Get in Touch: Gabija Liaugminaitė | Daniel Antal

Listen Local Slovakia - Hudobné centrum

Fri, 28 Oct 2022 07:00:00 +0000

Listen Local Slovakia

An invitation for an open
collaboration within
the OpenMuse project.

Daniel Antal
Gabija Liaugminaitė
2022.10.28.

Download in English — — Download in Slovak

Try Forgotify—it is sometimes failing to load!
Read our Data & Lyrics blogpost

Teach the algorithms about the musicologoical, lyrical content of the music
Give biographical and geographical context to the music

Further information

Read more: Digital Music Observatory | Listen Local
Longer feasibility study: Feasibility Study On Promoting Slovak Music In Slovakia & Abroad
Scientific version: Ensuring the Visibility and Accessibility of European Creative Content on the World Market

Questions?

Get in Touch: Gabija Liaugminaitė | Daniel Antal

Listen Local Nederland Meetup in Utrecht

Wed, 26 Oct 2022 16:17:00 +0200

‘I feel at home where people care’ Read Gabija’s interview and check out the band with us.

Reprex’s motto is big data for all. We want to fight data inequalities, data monopolies, and make big data and AI work for self-released artists or small labels, too.

Check out our projects

Digital Music Observatory and Listen Local
Cultural & Creative Sectors and Industries Observatory and short call for potential partners.
Make interviews, get interviewed, write blog posts, or syndicate our content to and from Data & Lyrics.
Don’t forget to vote for Reprex in the Hague Innovators Award competition 2022. The audience voting starts on 1 November 2022.
Download our submission for the competition.
Get in touch!

Reprex Open Collaboration NLAIC 2022

Wed, 21 Sep 2022 18:00:00 +0200

Reprex is looking for new collaborations within the NLAIC

Questions?

Email | Keybase

LinkedIn: Daniel Antal - Reprex

Reprex

Wed, 21 Sep 2022 16:00:00 +0200

Big Data Creates Inequalities

Only the largest corporations, best-endowed universities, and rich governments can afford data collection and processing capacities that are large enough to harness the advantages of AI.

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Big data that works for all

Reprex: No matter how big is the problem or how small is your team, we fill your reports, dashboards, newsletters, books with data and its visualization.

Connected financial and sustainability reporting based on open data

Eviota: We map your material impacts in your value chain and connect it with environmental or social data that is re-used from the public sector.

Data problems: Reprex

Most SMEs, and civil society organizations do not have a data scientist/engineer in their team, maybe not even an IT person or a HR professional to make such a hire.
When these organizations must solve novel problems, like connecting their financial accounts with environmental and social impact data or connecting to automated transaction systems (like in music), they need novel solutions that do not require managing a database within their organization.

Data problems: Eviota

Most SMEs, and civil society organizations do not have a data scientist/engineer in their team, maybe not even an IT person or a HR professional to make such a hire.
To access green bank loans, insurance products, subsidies, or investments, or to keep track of their sustainability goals in line with the Paris Accord or gender equality plan, organizations must connect their accounting system to external environmental data. We connect their accounts with impact estimates from reliable scientific sources.

Data problems (examples)


	The cost of questionnaire-based market research (survey) is increasing exponentially and offers mediocre results without an enormous question bank and harmonization with other surveys.(See 🖱 blogpost)
	Manual data acquisition is an error-prone and boring task for humans that requires many working hours (often not credited in consultancies, law firms, or research institutes.)
	Wrangling spreadsheet tables or word processor documents by people without data knowledge is the 🖱 data Sisyphus.

Our solution: Reprex

We create data ecosystems with the modernization of the EU/OECD/UN-endorsed 'data observatory' concept. Our data observatory 3.0 uses the knowledge graphs of the web of data.
We acquire and process data on a scale in our data observatories. We acquire and process data on a scale in our data observatories. Our approach significantly reduces the cost of data acquisition and opens invisible, reliable governmental and scientific data sources. We are currently building five observatories, and one of them is already mature enough to be considered for official EU recognition (serving the music industry).
We provide applications, for example, our Eviota application, which connects financial accounts with environmental and social data, and crates reliable indicators and benchmarks for the requirements of the sustainable finance package.

Our solution: Eviota (Non-Financial)

We create data ecosystems with the modernization of the EU/OECD/UN-endorsed 'data observatory' concept. Our Green Deal Data Observatory uses the knowledge graphs of the web of data and gives access to reliable, often unseen, hard-to-access ESG data sources.
We acquire and process data on a scale in our data observatories. Our approach significantly reduces the cost of data acquisition and opens invisible, reliable governmental and scientific data sources.
We provide applications, for example, our Eviota application, which connects financial accounts with environmental and social data, and crates reliable indicators and benchmarks for the requirements of the sustainable finance package. Unlike our competitors, we can serve SMEs, too, at a competitive cost.

Our solution: Eviota (For Banks)

We create data ecosystems with the modernization of the EU/OECD/UN-endorsed 'data observatory' concept. Our Green Deal Data Observatory uses the knowledge graphs of the web of data and gives access to reliable, often unseen, hard-to-access ESG data sources.
We acquire and process data on a scale in our data observatories. Our approach significantly reduces the cost of data acquisition and opens invisible, reliable governmental and scientific data sources.
We provide applications, for example, our Eviota application, which connects financial accounts with environmental and social data, and crates reliable indicators and benchmarks for the requirements of the sustainable finance package. We are validating our product in the regulatory sandbox of a central bank to show that we provide a cost-effective solution to many regulatory problems opened by the new [sustainable finance package of the EU](https://finance.ec.europa.eu/publications/sustainable-finance-package_en).

UNIIQ

Objectives, including product roadmap (technology/time/money)
Schematic overview of developments since inception

Market

Competition

Know-how and integration of open source components

Reprex has a special know-how to map and connect private datasets managing the boundaries of organizations that often have conflicting interests. Our know-how was developed over 10 years, and the data of about 60, often conflicting music industry actors in 12 countries.
Our team has many years of experience with working public sector information reuse, or 'open data', and have built reliable open source software to process legally open, not readily downloadable, and very valuable information that is not available for market vendors.
We use RDF (linked open data) and other technologies to link scattered small data to big data; we use our own R libraries to test and process various data into reliable statistical data or indicators.
Based on our unique data access and software we are developing the Eviota App to connect financial accounts and environmental, social and governance data.

Team [rewrite with GDO]


	The two co-founders, 🖱 Daniel Antal, CFA and 🖱 Andrés García Molina, PhD, and the core team manage the ecosystems’ development, develop knowledge management, and direct the software development. 🖱 Team on full screen
	Each observatory has a broader team of users, data and knowledge curators, and developers. The most developed 🖱️ Digital Music Observatory has 16 institutional users and a team of about 20 music and data professionals. The newer observatories have a smaller, initial service development and data curatorial team.

Timeline

Inception: Yes!Delft AI+Blockchain Product Market Fit Validation with the Digital Music Observatory
New observatory development started with computational antitrust, ESG reporting, and
Several, peer reviewed software releases
DMO has more than 20 curators, 3 million euro budget for 3 years, increasing user base.
Eviota and the Green Deal

We are part of rOpenGov and have access to very special knowledge working with national accounts data and ESG data used by governments to keep track with the Paris Accord. We can access data cheaper, faster, better than our competitors.
We have a know-how to manage conflicts of interest and very complex data use rights.

Data observatories 3.0

Reprex is offering shared data ecosystems. Our observatories are great solutions for organizations without a data specialization:


🌳 Organizations that cannot afford to build a large enough data team to sustain consistent, extensive data collection and processing (many large institutions and companies)
🪴 Who cannot hire even a single data engineer or a data scientist (medium-sized companies, NGOs)
🌱 Who do not even have a permanent IT function (about 2 million European small enterprises and civil society organizations)


	The European Union, the World Bank, OECD, and UN have facilitated the creation of more than 80 so-called ‘data observatories’ to help companies, researchers, NGOs, and governments systematically collect data and knowledge.
	We are currently building one prototype for the European Music Observatory financed by the European Union and music industry players (cc 3-4 million euros.) We would like to take over existing or start new observatories in 2 years at least 5)
	Our observatories are competitive, because they use high-quality open source scientific software; they exploit the new Data Governance Act and Open Data Directive, deploy web 3.0 data synchronization, and offer great value-added research products.

Platform products	Value added data applications
The European Union, the World Bank, OECD, and UN have facilitated the creation of more than 80 so-called ‘data observatories’ to help companies, researchers, NGOs, and governments systematically collect data and knowledge.	The different observatories offer different types of knowledge products, such as statistical yearbooks, various apps, and database access.
Most of them use web 1.0 technologies, inefficient knowledge accumulation. Already 20 of them have been discontinued.	We are developing software solutions that exploit our platforms: we harmonize surveys, statistical data, automate research reporting, elements of market monitoring or ESG reporting.
We are currently building one prototype for the European Music Observatory financed by the European Union and music industry players (cc 3-4 million euros.) We would like to take over existing or start new observatories in 2 years at least 5)	Each observatory gives us intimidate customer access to 3-4 large universities, 1-2 large consultancies, and various specialist institutions.

Marketing strategy


	Buma/Stemra like copyright management agencies, music export offices, festivals and venues, University of Amsterdam, Sant’Anna, Economic University of Bratislava, ministries of culture, grant agencies.
	University of Amsterdam, Europeana, Sant’Anna, Hungarian Film Fund
	Connected financial and sustainability reporting: bank consultancies, big four audit companies, large environmental NGOs.
	Antitrust agencies, law firms, economics consultancies working with mergers and other competition related issues.

Target market size


The observatory platforms usually have a build-up cost of about 3-5 million euros and an annual running costs of 0.1-3 million euros.	We hope to gain at least 10% global market share on the observatory platform management market to pay our basic data science team and R&D.
Our existing observatories give us access to the market and public surveying markets (cc € 30-40 bn in the developed nations), particularly to its software component (€ 10 billion euros).	retroharmonize integrates pre-existing questionnaire-based surveys and new surveys. We see interest from the biggest global players.
Our existing observatories gave us access to environmental impact assessment and currently we build an ESG reporting tool with a central bank, a value bank, and a big four company.	Connected ESG reporting has a €4 bn market in the EU alone, and our Eviota product is very competitive. Due to regulatory pressure, we can harvest a decent share if we are able to attract venture capital.

The observatory platforms usually have a build-up cost of about 3-5 million euros and an annual running costs of 0.1-3 million euros.

We hope to gain at least 10% global market share on the observatory platform management market to pay our basic data science team and R&D.

Our existing observatories give us access to the market and public surveying markets (cc € 30-40 bn in the developed nations), particularly to its software component (€ 10 billion euros).

retroharmonize integrates pre-existing questionnaire-based surveys and new surveys. We see interest from the biggest global players.

Our existing observatories gave us access to environmental impact assessment and currently we build an ESG reporting tool with a central bank, a value bank, and a big four company.

Connected ESG reporting has a €4 bn market in the EU alone, and our Eviota product is very competitive. Due to regulatory pressure, we can harvest a decent share if we are able to attract venture capital.

Team


	The two co-founders, 🖱 Daniel Antal, CFA and 🖱 Andrés García Molina, PhD, and the core team manage the ecosystems’ development, develop knowledge management, and direct the software development. 🖱 Team on full screen
	Each observatory has a broader team of users, data and knowledge curators, and developers. The most developed 🖱️ Digital Music Observatory has 16 institutional users and a team of about 20 music and data professionals. The newer observatories have a smaller, initial service development and data curatorial team.

Traction


💻 Our free scientific software products have a steadily growing user base (several thousand users globally.)
📈 We are able to convert this to paying research automation services at a higher growth rate.
🚀 We won four competitive tenders this year, but we feel that the slow tendering/acquisition/cash cycle is hampering our growth, we see far more opportunities that we can serve. Therefore we are looking for investors.

Funding


We have a good track record in EU tenders, but we would like to build up this reputation in the Netherlands, too, mainly for new platforms.
We help our non-profit users, such as cultural heritage organizations, music export offices, collective rights management agencies to get funding to use our platforms and services
Our for profit-users need a more polished, user-friendlier front-end. Some are interested in joint ventures (like exploiting our survey capabilities). Venture capital would be preferred, as demand outstrips growth.

Do it Smarter

They usually do not exchange standard data with statistical agencies, they are not synchronized on knowledge graphs of the Europeana or national libraries, and their research output is usually not to be found on open science repositories.
The Hague is the winner of the World Smart City Award 2021, and we would like to attract the planned European Music Observatory and other, EU/UNESCO recognized institutions into the town building on the innovations of Reprex and the ecosystem of the Hague.

Questions?

Email | Keybase

LinkedIn: Daniel Antal - Reprex

Home - One Pager ImpactCity Startup Support XL

Listen Local Lithuania - Music Information Center

Wed, 07 Sep 2022 00:00:00 +0000

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Further information

Read more: Digital Music Observatory | Listen Local
Longer feasibility study: Feasibility Study On Promoting Slovak Music In Slovakia & Abroad
Scientific version: Ensuring the Visibility and Accessibility of European Creative Content on the World Market

Questions?

Get in Touch: Gabija Liaugminaitė | Daniel Antal

Hague Innovators Award 2022

Wed, 17 Aug 2022 12:00:00 +0000

Data Observatory 3.0

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Shared evidence ecosystems: data observatories

Organizations that cannot afford to build a large enough data team to sustain consistent, extensive data collection and processing (many large institutions and companies)
Who cannot hire even a single data engineer or a data scientist
Who do not even have a permanent IT function (about 2 million European small enterprises and civil organizations)

What are data observatories?

There are more than 60 functional, and about 20 already discontinued data observatories, i.e. long-term, usually triangular (business, academic, policy) data collection institutions recognized by the EU, OECD or UNESCO, including the European Observatory on Infringements of Intellectual Property Rights of the EU or the European Audiovisual Observatory of the Council of Europe.

Do it Smarter

They usually do not exchange standard data with statistical agencies, they are not synchronized on knowledge graphs of the Europeana or national libraries, and their research output is usually not to be found on open science repositories.
The Hague is the winner of the World Smart City Award 2021, and we would like to attract the planned European Music Observatory and other, EU/UNESCO recognized institutions into the town building on the innovations of Reprex and the ecosystem of the Hague.

Strategic objectives

Develop our data observatories as Open Scholarly Infrastructure
Place our Digital Music Observtory, Cultural and Creative Data Observatory, and Green Deal Data Observaotry on knowledge graphs of Europeana, Wikidata, and other open knowledge sytems
Harmonize research artefacts with open repositories such as Zenodo and Figshare.
Achieve EU/UNESCO/OECD recognition for our self-governing, triangular, science-policy-busines triangular data ecosystems as data observatories

Digital Music Observatory

Listen Local in Horizon Europe OpenMuse WP Diversity, Creative Europe MusicAIRE: connected and curated data on 10,000s of music works
Our aim is to describe the entire, currently legally available music repertoire of Slovakia and Lithuania at first, and a large part of Ukraine.
Connected with name authorities, web services.

Possible Collaboration

Connect national collective management organization, national library, and various services (Spotify, YouTube) to make the national repertoire more visible
Create use statistics for cultural diversity policies and monitoring local content regulations
Provide best practice example and open source tools for replication

Creative and Cultural Sectors Industries Data Observatory

Possible Collaboration

The CCSI Data Observatory already has some data assets on Zenodo, and we can upgrade its API (both as Rest API with datacube and with a simple RDF serialization)
Create use statistics for cultural heritage objects and other cultural heritage policy data
Revisit some modest deliverables of RECREO and seek new funding.

Green Deal Data Observatory

Possible Collaboration

The Green Deal Data Observatory is currently developed to provide free or very accessible environmental, social and governance reporting tools to the cultural sector.
It could also be used to provide ecological context to cultural heritage objects (CHO) for greater awareness.

Technical Features

Reprex | Documentation

FAIR

FAIR metadata: Dublin Core & DataCite referential metadata
Integration to FigShare and Zenodo for automated releases and publications

Web 3.0

supported with optional, open source APIs to retrieve the data
supported with RDF serialization

Dissemination Support

support automated publishing and releasing of data, visualizations, newsletters, and long-form documentation in auto-refreshing websites, blogposts, or articles, or even books.
develop an ecosystem of open source software that helps the professional collection, processing, documentation of data conforming the Data Governance Act, and supporting data sharing and data altruism.

Research Automation

Research automation

support research automation

Questions?

LinkedIn: Daniel Antal - Digital Music Observatory

Jumping Ahead With the Digital Music Observatory

Thu, 02 Dec 2021 13:00:00 +0100

Our Digital Music Observatory project spent a year in the JUMP Music Market Accelerator’s program. Over the course of 9 months, co-founder Daniel Antal could meet many stakeholders from almost all European countries, meet other new music technology startups and projects, and got mentoring and other professional help to further develop the project.

The Digital Music Observatory is one of the several initiatives to fill the data gaps of the fragmented European music ecosystems. While most of Europe’s music is available and promoted on data-heavy, AI-driven autonomous platforms like TikTok, Spotify, YouTube, Deezer, music labels, publishers, national export offices are lacking the necessary data solutions to remain competitive.

Daniel is pitching for partnership with Music Tech Europe on Linechech and finding a music city that wants to be the seat of the future European Music Observatory. Photo: Wen Liu.

One of the recurring themes of 2021 was the notion that the music streaming economy is broken. Several JUMP fellows are working on various projects that aim to fix this, and our Digital Music Observatory has both the data and track record to provide evidence and test ideas about possible solutions – change in pricing, better targeting in export and domestic markets, and checking for algorithmic biases. See what we have done in the field this year in the UK IPO-initiated Music Creators’ Earning project; understanding algorithmic recommendation problems with the support of the Slovak Arts Council, and making recommendations about better music metadata and copyright regulation with our research consortium.

The other very interesting theme of the year was the emergence of new, immersive music tech companies. We hope that our Digital Music Observatory can grow into a hub for their data needs, too. How is the world of 2.7 billion gamer and music lovers is forming a new market for Ristband? We would also like to curate data about the healing effects of sound, and work in the future with immersive, functional music providers like Flower of Sound who place music and sound design into a less stressful, more healthy acoustic environment.

We were often criticized for placing too little emphasis on data visualization. Our next priority is to provide clear, beautiful infographs and charts to all of our datasets.

There were many professionals who helped us in the JUMP program. We are particularly thankful for Alessanra di Caro (partnership building), Elodie Crouzet (program coordination), Steve Farris (mentoring), Veronique Friedrich (team building), Thierry Giesler (improving our pitch) and Anna Zò (Music Tech Europe).

Are you a data user? Give us some feedback! Shall we do some further automatic data enhancements with our datasets? Document with different metadata? Link more information for business, policy, or academic use? Please ive us any feedback!

How We Add Value to Public Data With Better Curation And Documentation?

Mon, 08 Nov 2021 09:00:00 +0000

In this example, we show a simple indicator: the Turnover in Radio Broadcasting Enterprises in many European countries. This is an important demand driver in the Music economy pillar of our Digital Music Observatory, and important indicator in our more general Cultural & Creative Sectors and Industries Observatory. Of course, if you work with competition policy or antitrust, than any industry may be interesting to you–but not all of them are well-serverd with data.

This dataset comes from a public datasource, the data warehouse of the European statistical agency, Eurostat. Yet it is not trivial to use: unless you are familiar with national accounts, you will not find this dataset on the Eurostat website.

The data can be retrieved from the Annual detailed enterprise statistics for services NACE Rev.2 H-N and S95 Eurostat folder.

Our version of this statistical indicator is documented following the FAIR principles: our data assets are findable, accessible, interoperable, and reusable. While the Eurostat data warehouse partly fulfills these important data quality expectations, we can improve them significantly. And we can also improve the dataset, too, as we will show in the next blogpost.

Tartalomjegyzék

Findable Data

Our data observatories add value by curating the data–we bring this indicator to light with a more descriptive name, and we place it in a domain-specific context with our Digital Music Observatory and Cultural & Creative Sectors and Industries Observatory and a policy-specific context with our Competition Data Observatory and Green Deal Data Observatory. While many people may need this dataset in the creative sectors, or among cultural policy designers, most of them have no training in working with national accounts, which imply decyphering national account data codes in records that measure economic activity at a national level. Our curated data observatories bring together many available data around important domains. Our Digital Music Observatory, for example, aims to form an ecosystem of music data users and producers.

We added descriptive metadata that help you find our data and match it with other relevant data sources.

We added descriptive metadata that help you find our data and match it with other relevant data sources. For example, we add keywords and standardized metadata identifiers from the Library of Congress Linked Data Services, probably the world’s largest standardized knowledge library description. This ensures that you can find relevant data around the same key term ("Radio broadcasting") in addition to our turnover data. This allows connecting our dataset unambiguously with other information sources that use the same concept, but may be listed under different keywords, such as Radio–Broadcasting, or Radio industry and trade, or maybe Hörfunkveranstalter in German, or Emitiranje radijskog programa in Croatian or Actividades de radiodifusão in Portugese.

Accessible Data

Our data is accessible in two forms: in csv tabular format (which can be read with Excel, OpenOffice, Numbers, SPSS and many similar spreadsheet or statistical applications) and in JSON for automated importing into your databases. We can also provide our users with SQLite databases, which are fully functional, single user relational databases.

Tidy datasets are easy to manipulate, model and visualize, and have a specific structure: each variable is a column, each observation is a row, and each type of observational unit is a table. This makes the data easier to clean, and far more easier to use in a much wider range of applications than the original data we used. In theory, this is a simple objective, yet we find that even governmental statistical agencies–and even scientific publications–often publish untidy data. This poses a significant problem that implies productivity loses: tidying data will require long hours of investment, and if a reproducible workflow is not used, data integrity can also be compromised: chances are that the process of tidying will overwrite, delete, or omit a data or a label.

Tidy datasets are easy to manipulate, model and visualize, and have a specific structure: each variable is a column, each observation is a row, and each type of observational unit is a table.

While the original data source, the Eurostat data warehouse is accessible, too, we added value with bringing the data into a tidy format. Tidy data can immediately be imported into a statistical application like SPSS or STATA, or into your own database. It is immediately available for plotting in Excel, OpenOffice or Numbers.

Interoperability

Our data can be easily imported with, or joined with data from other internal or external sources.

All our indicators come with standardized descriptive metadata, and statistical (processing) metadata. See our API

All our indicators come with standardized descriptive metadata, following two important standards, the Dublin Core and DataCite–implementing not only the mandatory, but the recommended descriptions, too. This will make it far easier to connect the data with other data sources, e.g. turnover with the number of radio broadcasting enterprises or radio stations within specific territories.

Our passion for documentation standards and best practices goes much further: our data uses Statistical Data and Metadata eXchange standardized codebooks, unit descriptions and other statistical and administrative metadata.

Reuse

All our datasets come with standardized information about reusabililty. We add citation, attribution data, and licensing terms. Most of our datasets can be used without commercial restriction after acknowledging the source, but we sometimes work with less permissible data licenses.

In the case presented here, we added further value to encourage re-use. In addition to tidying, we significantly increased the usability of public data by handling missing cases. This is the subject of our next blogpost.

Are you a data user? How could we serve you better?

Shall we do some further automatic data enhancements with our datasets? Document with different metadata? Link more information for business, policy, or academic use? Please get in touch with us!

How We Add Value to Public Data With Imputation and Forecasting

Mon, 08 Nov 2021 10:00:00 +0100

Public data sources are often plagued by missng values. Naively you may think that you can ignore them, but think twice: in most cases, missing data in a table is not missing information, but rather malformatted information. This approach of ignoring or dropping missing values will not be feasible or robust when you want to make a beautiful visualization, or use data in a business forecasting model, a machine learning (AI) applicaton, or a more complex scientific model. All of the above require complete datasets, and naively discarding missing data points amounts to an excessive waste of information. In this example we are continuing the example a not-so-easy to find public dataset.

In the previous blogpost we explained how we added value by documenting data following the FAIR principle and with the professional curatorial work of placing the data in context, and linking it to other information sources, such as other datasets, books, and publications, regardless of their natural language (i.e., whether these sources are described in English, German, Portugese or Croatian). Photo: Jack Sloop.

Completing missing datapoints requires statistical production information (why might the data be missing?) and data science knowhow (how to impute the missing value.) If you do not have a good statistician or data scientist in your team, you will need high-quality, complete datasets. This is what our automated data observatories provide.

Tartalomjegyzék

Why is data missing?

International organizations offer many statistical products, but usually they are on an ‘as-is’ basis. For example, Eurostat is the world’s premiere statistical agency, but it has no right to overrule whatever data the member states of the European Union, and some other cooperating European countries give to them. And they cannot force these countries to hand over data if they fail to do so. As a result, there will be many data points that are missing, and often data points that have wrong (obsolete) descriptions or geographical dimensions. We will show the geographical aspect of the problem in a separate blogpost; for now, we only focus on missing data.

Some countries have only recently started providing data to the Eurostat umbrella organization, and it is likely that you will find few datapoints for North Macedonia or Bosnia-Herzegovina. Other countries provide data with some delay, and the last one or two years are missing. And there are gaps in some countries’ data, too.

See the authoritative copy of the dataset.

This is a headache if you want to use the data in some machine learning application or in a multiple or panel regression model. You can, of course, discard countries or years where you do not have full data coverage, but this approach usually wastes too much information–if you work with 12 years, and only one data point is available, you would be discarding an entire country’s 11-years’ worth of data. Another option is to estimate the values, or otherwise impute the missing data, when this is possible with reasonable precision. This is where things get tricky, and you will likely need a statistician or a data scientist onboard.

What can we improve?

Consider that the data is only missing from one year for a particular country, 2015. The naive solution would be to omit 2015 or the country at hand from the dataset. This is pretty destructive, because we know a lot about the radio market turnover in this country and in this year! But leaving 2015 blank will not look good on a chart, and will make your machine learning application or your regression model stop.

A statistician or a radio market expert will tell you that you know more-or-less the missing information: the total turnover was certainly not zero in that year. With some statistical or radio domain-specific knowledge you will use the 2014, or 2016 value, or a combination of the two and keep the country and year in the dataset.

Our improved dataset added backcasted (using the best time series model fitting the country’s actually present data), forecasted (again, using the best time series model), and approximated data (using linear approximation.) In a few cases, we add the last or next known value. To give a few quantiative indicators about our work:

Increased number of observations: 65%
Reduced missing values: -48.1%
Increased non-missing subset for regression or AI: +66.67%

If your organization is working with panel (longitudional multiple) regressions or various machine learning applications, then your team knows that not havint the +66.67% gain would be a deal-breaker in the choice of models and punctuality of estimates or KPIs or other quantiative products. And that they would spent about 90% of their data resources on achieving this +66.67% gain in usability.

If you happen to work in an NGO, a business unit or a research institute that does not employ data scientists, then it is likely that you can never achieve this improvement, and you have to give up on a number of quantitative tools or visualizations. If you have a data scientist onboard, that professional can use our work as a starting point.

Can you trust our data?

We believe that you can trust our data better than the original public source. We use statistical expertise to find out why data may be missing. Often, it is present in a wrong location (for example, the name of a region changed.)

If you are reluctant to use estimates, think about discarding known actual data from your forecast or visualization, because one data point is missing. How do you provide more accurate information? By hiding known actual data, because one point is missing, or by using all known data and an estimate?

Our codebooks and our API uses the Statistical Data and Metadata eXchange documentation standards to clearly indicate which data is observed, which is missing, which is estimated, and of course, also how it is estimated. This example highlights another important aspect of data trustworthiness. If you have a better idea, you can replace them with a better estimate.

Our indicators come with standardized codebooks that do not only contain the descriptive metadata, but administrative metadata about the history of the indicator values. You will find very important information about the statistical method we used the fill in the data gaps, and even link the reliable, the peer-reviewed scientific, statistical software that made the calculations. For data scientists, we record the plenty of information about the computing environment, too-–this can come handy if your estimates need external authentication, or you suspect a bug.

Avoid the data Sisyphus

If you work in an academic institution, in an NGO or a consultancy, you can never be sure who downloaded the Annual detailed enterprise statistics for services (NACE Rev. 2 H-N and S95) Eurostat folder from Eurostat. Did they modify the dataset? Did they already make corrections with the missing data? What method did they use? To prevent many potential problems, you will likely download it again, and again, and again…

See our The Data Sisyphus blogpost.

We have a better solution. You can always rely on our API to import directly the latest, best data, but if you want to be sure, you can use our regular backups on Zenodo. Zenodo is an open science repository managed by CERN and supported by the European Union. On Zenodo, you can find an authoritative copy of our indicator (and its previous versions) with a digital object identifier, in this case, 10.5281/zenodo.5652118. These datasets will be preserved for decades, and nobody can manipulate them. You cannot accidentally overwrite them, and we have no backdoor access to modify them.

Get the data

How can we do better?

Are you a data user?

Shall we do some further automatic data enhancements with our datasets? Document with different metadata? Link more information for business, policy, or academic use? Please get in touch with us!

Reprex on MaMA

Fri, 15 Oct 2021 19:00:00 +0000

Reprex’s co-founder, the main developer of the Digital Music Observatory, Daniel Antal and Digital Music Observatory curator, Marie Zhorová participated in the MaMA Festival & Convention in Paris on 13-15 October within the JUMP Music Market Accelerator Program Program. We introduced our Digital Music Observatory to national music organizations and encouraged them to try out a cooperation with us. (See Use Cases below)

Our main aim was to find new users to our Digital Music Observatory, and to find partners for a future Horizon Europe R&D project to develop the scientific pillars of the Observatory in a manner that meets practical industry needs and the feature requirements laid out in hte Feasiblity Study for a Euroepan Music Observatory.

Our concept was introduced in Le Trianon to a wider audience during the JUMP Music Market Accelerator Pitch Session and in one-to-one meetings to representatives of French national organizations. We have also started to investigate the possibility to cooperate with two startups to bring our data services closer to artists, labels, and publishers.

Use Cases

Fair Streaming

Daniel introduced our work made for the UK IPO’s Music Creators’ Earnings in the Digital Era Project about the justified and not-justified differences among music rightsholders earnings and the diminishing market value of streams. We believe that our UK approach is a particularly interesting addition to join with the distribution analysis performed by the Centre Nationale de la Musique and Deloitte in France.

Fair Value

Daniel introduced to collective management professioanls our innovative approach for private copying valuation, royalty price setting, estimating the values of value transfer to media platforms, and other topics of interests for collective management and rights management organizations. Our approach has a proven track record to increase revenues for creators.

Open Music Observatory

We introduced our approach to building the European Music Observatory in a decentralized way, relying not only on the resources of Creative Europe but also on Open Science, Horizon Europe, bringing the music industry, music research in universities and cultural policy under one open collaboration. Because France is building its own music observatory of a kind, the decentralized approach could particularly benefit French stakeholders.

Listen Local

Why Data Observatory?

Our use cases highlight the value of having a wide range of data available for the industry players, researchers and policy-makers. In the era of big data, and when open data is becoming legally more and more available, it is important to have one place with a single data collection method. Copernicus built a permanent observatory for the ongoing observation of celestial bodies. We built an automated data observatory to permanently collect data about music.

Eurobarometer Surveys Used In Our Project

Wed, 03 Mar 2021 00:00:00 +0000

In our tutorial series, we are going to harmonize the following questionnaire items from five Eurobarometer harmonized survey files. The Eurobarometer survey files are harmonized across countries, but they are only partially harmonized in time.

All data must be downloaded from the GESIS Data Archive in Cologne. We are not affiliated with GESIS and you must read and accept their terms to use the data.

Eurobarometer 80.2 (2013)

GESIS Data Archive, Cologne. ZA5877 Data file Version 2.0.0, https://doi.org/10.4232/1.12792

Data file: ZA6595 data file (European Commission 2017).
Questionnaire: Eurobarometer 83.4 Basic Bilingual Questionnaire
Citation: ZA6595 Bibtex

QA1a Which of the following do you consider to be the single most serious problem facing the world as a whole? (single choice)

QA1b Which others do you consider to be serious problems? (multiple choice)

QA2 And how serious a problem do you think climate change is at this moment? Please use a scale from 1 to 10, with '1' meaning it is "not at all a serious problem (scale 1-10)

QA4 To what extent do you agree or disagree with each of the following statements? - Fighting climate change and using energy more efficiently can boost the economy and jobs in the EU (agreement-disagreement 4-scale)

QA4 To what extent do you agree or disagree with each of the following statements? - Reducing fossil fuel imports from outside the EU could benefit the EU economically (agreement-disagreement 4-scale)

QA5 Have you personally taken any action to fight climate change over the past six months? (binary)

Eurobarometer 83.4 (2015)

European Commission, Brussels; Directorate General Communication COMM.A.1 ´Strategy, Corporate Communication Actions and Eurobarometer´GESIS Data Archive, Cologne. ZA6595 Data file Version 3.0.0, https://doi.org/10.4232/1.13146

Data file: ZA6595 data file (European Commission 2018).
Questionnaire: Eurobarometer 83.4 Basic Bilingual Questionnaire
Citation: ZA6595 Bibtex

Eurobarometer 87.1 (2017)

European Commission, Brussels; Directorate General Communication, COMM.A.1 ‘Strategic Communication’; European Parliament, Directorate-General for Communication, Public Opinion Monitoring Unit GESIS Data Archive, Cologne. ZA6861 Data file Version 1.2.0, https://doi.org/10.4232/1.12922

Data file: ZA6861 data file.
Questionnaire: Eurobarometer 90.2 Basic Bilingual Questionnaire
Citation: ZA6861 Bibtex

QC1a Which of the following do you consider to be the single most serious problem facing the world as a whole? (single choice)

QC1b Which others do you consider to be serious problems? (multiple choice)

QC2 And how serious a problem do you think climate change is at this moment? Please use a scale from 1 to 10, with '1' meaning it is "not at all a serious problem (scale 1-10)

Qc4 To what extent do you agree or disagree with each of the following statements? - Fighting climate change and using energy more efficiently can boost the economy and jobs in the EU (agreement-disagreement 4-scale)

Qc4 To what extent do you agree or disagree with each of the following statements? - Promoting EU expertise in new clean technologies to countries outside the EU can benefit the EU economically (agreement-disagreement 4-scale)

Qc4 To what extent do you agree or disagree with each of the following statements? - Reducing fossil fuel imports from outside the EU can benefit the EU economically (agreement-disagreement 4-scale)

Qc4 To what extent do you agree or disagree with each of the following statements? - Reducing fossil fuel imports from outside the EU can increase the security of EU energy supplies (agreement-disagreement 4-scale)

Qc4 To what extent do you agree or disagree with each of the following statements? - More public financial support should be given to the transition to clean energies even if it means subsidies to fossil fuels should be reduced. (agreement-disagreement 4-scale)

Qc5 Have you personally taken any action to fight climate change over the past six months? (binary)

Eurobarometer 90.2 (2018)

European Commission, Brussels; Directorate General Communication, COMM.A.3 ‘Media Monitoring and Eurobarometer’ GESIS Data Archive, Cologne. ZA7488 Data file Version 1.0.0, https://doi.org/10.4232/1.13289

Data file: ZA7488 data file (European Commission 2019a)
Questionnaire: Eurobarometer 90.2 Basic Bilingual Questionnaire
Citation: ZA7488 Bibtex

QB5 To what extent do you agree or disagree with each of the following statements? - Fighting climate change and using energy more efficiently can boost the economy and jobs in the EU (agreement-disagreement 4-scale)

QB5 To what extent do you agree or disagree with each of the following statements? - Promoting EU expertise in new clean technologies to countries outside the EU can benefit the EU economically (agreement-disagreement 4-scale)

QB5 To what extent do you agree or disagree with each of the following statements? - Reducing fossil fuel imports from outside the EU can benefit the EU economically (agreement-disagreement 4-scale)

QB5 To what extent do you agree or disagree with each of the following statements? - Reducing fossil fuel imports from outside the EU can increase the security of EU energy supplies (agreement-disagreement 4-scale)

QB5 To what extent do you agree or disagree with each of the following statements? - More public financial support should be given to the transition to clean energies even if it means subsidies to fossil fuels should be reduced. (agreement-disagreement 4-scale)

Eurobarometer 91.3 (2019)

European Commission, Brussels; Directorate General Communication, COMM.A.3 ‘Media Monitoring and Eurobarometer’ GESIS Data Archive, Cologne. ZA7572 Data file Version 1.0.0, https://doi.org/10.4232/1.13372

Data file: ZA7572 data file (European Commission 2019b).
Questionnaire: Eurobarometer 91.3 Basic Bilingual Questionnaire
Citation: ZA7572 Bibtex

QB4 To what extent do you agree or disagree with each of the following statements? - Taking action on climate change will lead to innovation that will make EU companies more competitive (N) (agreement-disagreement 4-scale)

QB4 To what extent do you agree or disagree with each of the following statements? - Promoting EU expertise in new clean technologies to countries outside the EU can benefit the EU economically (agreement-disagreement 4-scale)

QB4 To what extent do you agree or disagree with each of the following statements? - Reducing fossil fuel imports from outside the EU can benefit the EU economically (agreement-disagreement 4-scale)

QB4 To what extent do you agree or disagree with each of the following statements? - Adapting to the adverse impacts of climate change can have positive outcomes for citizens in the EU (agreement-disagreement 4-scale)

QB5 Have you personally taken any action to fight climate change over the past six months? (binary)

References

European Commission, Brussels. 2017. “Eurobarometer 80.2 (2013).” GESIS Data Archive, Cologne. ZA5877 Data file Version 2.0.0, https://doi.org/10.4232/1.12792. https://doi.org/10.4232/1.12792.

———. 2018. “Eurobarometer 83.4 (2015).” GESIS Data Archive, Cologne. ZA6595 Data file Version 3.0.0, https://doi.org/10.4232/1.13146. https://doi.org/10.4232/1.13146.

———. 2019a. “Eurobarometer 90.2 (2018).” GESIS Data Archive, Cologne. ZA7488 Data file Version 1.0.0, https://doi.org/10.4232/1.13289. https://doi.org/10.4232/1.13289.

———. 2019b. “Eurobarometer 91.3 (2019).” GESIS Data Archive, Cologne. ZA7572 Data file Version 1.0.0, https://doi.org/10.4232/1.13372. https://doi.org/10.4232/1.13372.

Product/Market Fit Validation in Yes!Delft

Fri, 25 Sep 2020 15:31:39 +0000

We would like to validate our product market/fit in two segments, business/policy research and scientific research, with a supporting role given to data journalism. Because we want to follow a bootstrapping strategy, we must focus on those clients where we find the highest value proposition, which is of course easier said than done. We see much interest in our offering from other continents, therefore we truly welcome the opportunity that we can do this on a truly global business canvas in one of the worlds’ top five incubators, the number 2 university-backed incubator in the world, second to none in Europe, in the Yes!Delft AI+Blockchain Validation Lab.

In Europe hundreds of thousands of microenterprises, such as record labels, video producers or book publishers are facing data and AI giants like Google’s YouTube, Apple Music, Spotify, Netflix or Amazon. If the recommendation engines of these giants do not recommend their songs, films or books, then their investments are doomed to fail, because about half of the global sales are driven by AI algorithms. When they make a claim for the missing money, they will immediately find themselves in a dispute with gigabytes of data that they can only handle with a data scientist, even though they do not even have an IT professional or an HR professional to make the hire.

An awful lot of money, creativity and real values are at stake, and we want to be on the creator’s side, their technician’s side, their manager’s side when they want to get a fair share from the pie and they want to help these industry leader to make the pie grow.

The UNESCO and the EU have been promoting as an organizational solution the fragmentation problem with the so-called data observatories that are pooling the business, policy, and scientific research needs of various domains, like music. This is an idea that we really like, and we believe that our research automation solutions can help these observatories to grow faster as ecosystems, create better quality and more timely data and research products and a far lower cost.

We define ourselves as a reproducible research company inspired by the philosophy of open collaboration, based on open-source software and open data. We want to explore various revenue models around these ideas.

We are not committed to open source licensing if more permissive licensing policies provide us with better opportunities.
We would like to explore various data-as-service models, because we do not want to be locked into the position of cheap open data vendors.
We want to deploy AI applications that really help earning money in these sectors with playlisting, recommendation engines, forecasting applications, or royalty valuations, because our open collaboration approach brings up enough data sooner to than its alternatives, because it manages inherent conflicts of interests, fragmentation, and decentralization better than hierarchical solutions.

Timeline

In January CEEMID reached its peak: we introduced a 12-country reproducible research project made with only freelancers in Brussels, presented as best use case of evidence-based policy design.
In February Daniel visited the Yes!Delft Co-Lab to find out who would be the best co-founder to re-launch CEEMID as an enterprise.
In April we started to release our data as open data for validation.
One month ago we started-up.
Then we launched the music.dataobservatory.eu project.
A few other data observatories.

Bonus:

Palato in the Hague, where we took our selfie and had an absolutely amazing dinner after the pitch. Check them out!

Starting-up

Mon, 24 Aug 2020 10:15:00 +0000

The big day has come: the co-founders singed off the documents at the public notary and started the registration of a reproducible research start-up in Leiden. We got a lot of support from our friends! Your encouragement gives us a lot of energy to accomplish our first milestones, and to get Reprex B.V. going!

Reprex means ‘reproducible example’ in data science. When you are stuck with a problem, creating a reproducible example allows other computer scientists, statisticians, programmers or data users to solve it. In 80% of the cases, you usually find the solution while creating a generalized example. In the 20% other cases, you can reach out for help easily.

In the coming days, we are launching demo versions of our headline products, data observatories. music.dataobservatory.eu will be a fully automated online service that every day collects, processes, cleans, and publishes scientifically valid data about European music. Very soon after we will launch two other observatories.

The creative and cultural sector, NGOs, most research institutions, data journalism teams are usually very small, and they do not have internal IT or data science capacities. We would like to provide them a transparent, high quality, and fully open source solution to acquire data, process it without errors, document it and make sense of it. We would like to embrace the idea of open collaboration among creative enterprises, scientific researchers, NGOs, data journalists and policymakers with our work.

Our work will comply with the Open Policy Analysis standards developed by the Berkeley Initiative for Transparency in the Social Sciences & Center for Effective Global Action and the four principles of reproducible research: reviewability, replicability, confirmability and auditability. We believe that these standards apply in reproducible finance, empirical evidence presentation in courts, or advocating sound policies and producing high-quality journalism.

Do you want to help our start?

We would like to enter into the Validation Lab of one of the best artificial intelligence incubators in early September. Talented team members, letters of intents and assignments from organizations will give a lot of credibility to our start Meet our team ».

Put as in contact with people who love to write code in R and interested in automating business and social science research and primary data collection such as surveying. Check out what sort of code we create »
Introduce us to people who need data and information to make better informed decision and analysis in music, film, book publishing, photography services or socially responsible finance.
Share contacts of data journalists who would like to develop stories from big survey programs like Eurobarometer, Afrobarometer and Lationbarometro, or base their storytelling on data and its visualizations. See our survey harmonization examples »

Do you know such people? Send over this post or connect us in an email or social media message!

Thanks again for your good wishes and encouragements, and hope to hear from you soon!

Interoperability of Music Libraries and Archives with Public and Private Music Services

Mon, 01 Jan 0001 00:00:00 +0000

Press `F` on your keyboard

Enter full screen mode: on your keyboard

Full screen: F or Overview: Esc
forward: ️> or [spacebar] | back :️<
home: Home and to the end: End

🖱 blue letters: clickable link

Building Blocks

Wikibase: SKCMDb, FUDSS.
SPARQL Endpoint: [requires password]
Sampo Semnantic Browser (beta): http://135.181.91.51:3007/en/
Project Information: https://reprex.nl/project/skcmdb/
👉 Help Us Build a Truly Inclusive European Music Observatory (invitation blogpost)

Questions?

Ask: Email | Keybase

Connect: Daniel Antal, CFA | Reprex

SKCMDb: The Slovak Comprehensive Music Database

Mon, 01 Jan 0001 00:00:00 +0000

Enter full screen mode: F

forward: ️> or [spacebar] | back :️<
home: Home and to the end: End
Overview: Esc or zoom with Alt + Click️

🖱 blue letters: clickable link

Building Blocks

Wikibase: SKCMDb, FUDSS.
SPARQL Endpoint: [requires password]
Sampo Semnantic Browser (beta): http://135.181.91.51:3007/en/
Project Information: https://reprex.nl/project/skcmdb/
👉 Help Us Build a Truly Inclusive European Music Observatory (invitation blogpost)

Questions?

Ask: Email | Keybase

Connect: Daniel Antal, CFA | Reprex

Wikimuseum

Mon, 01 Jan 0001 00:00:00 +0000

Press `F` on your keyboard

Enter full screen mode: on your keyboard

Full screen: F or Overview: Esc
forward: ️> or [spacebar] | back :️<
home: Home and to the end: End

🖱 blue letters: clickable link

Building Blocks

Wikibase: SKCMDb, FUDSS.
SPARQL Endpoint: [requires password]
Sampo Semnantic Browser (beta): http://135.181.91.51:3007/en/
Project Information: https://reprex.nl/project/skcmdb/
👉 Help Us Build a Truly Inclusive European Music Observatory (invitation blogpost)

Questions?

Ask: Email | Keybase

Connect: Daniel Antal, CFA | Reprex

Antal Dániel | Antal Dániel honlapja

Udmurt Történeti Fotógyűjtemény

Federating Open Knowledge through Wikibase: The Case of The Finno-Ugric Data Sharing Space

Open Access Music Dataspaces – Open Music Observatory

Wikibase as a Data Sharing Space: Connecting Rights, Communities, and GLAM through Federated Infrastructures

Key Ideas

Examples

Next Steps

Livestream recording

Brace for Impact: Trustworthy AI for Good

Key Idea

Next Steps

WikiMuseum = GLAM Wiki + Wikibase + Data Sharing Space

Highlights

Next steps

Livestream recording

Workshop on Metadata Sharing for Small Labels, Libraries, and Collectors

Who should attend?

Why attend?

Practical details

Linking Garments to Knowledge: TextileBase as an Interdisciplinary Graph for Dress and Textile Research

Federating Music Library Data in Hungary – A Call to Action

TextileBase: Introduction

Topics For Discussion

Wikibase Interfaces

SPARQL Endpoint

Sampo UI

TextileBase

Slide Navigation

Press F on your keyboard

Questions?

Interoperability of Music Libraries and Archives with Public and Private Music Services

Wikibase Interfaces

SPARQL Endpoint

Sampo Semantic Browser

Next steps

Help Us Build a Truly Inclusive European Music Observatory

Metadata Groundhog Day: What a Moribound Language Can Teach Spotify and Shopify

Mazirbe Is Missing Again

But Mazirbe exists!

A Gazetteer That Works Like Real Life

So What?

Lessons We Took Away

See It / Fork It / Repurpose It

The Concept of a WikiMuseum

Slide Navigation (press F)

Building Blocks

Questions?

Linked Open Datasets on Garments from the Latgale Region

Finno-Ugric Data Sharing Space

What are the competencies of the system that we are building?

Finno-Ugric Data Sharing Space

Navigation

Questions?

SKCMDb Presentation on IAMIC 2024

Building a music data sharing space with Wikibase

Building a music data sharing space with Wikibase

Slide navigation

What we actually do?

Questions?

Building a music data sharing space with Wikibase

Slide navigation

Questions?

Federating the Slovak Music Dataspace: Replication in Hungary

ELTE Digital Heritage Meetup

Diák navigálása

Dataweek²⁴: Data-driven Compliance with the Corporate Social Responsibility Directive

Open Music Observatory

Slide navigation

Data Sharing Spaces for CSRD

Slide Navigation (press F)

Dataweek²⁴: Introducing a new European music dataspace

Open Music Observatory: Towards a European Music Dataspace

Hachaton, Registers for Cultural Entities

Slide navigation

From Slovakia Towards a European Music Dataspace

Hallgass hazai zenéket

Slide navigation

Lightning Talk About the Slovak Music Dataspace

ESRS in the Film, Television & Music Industry

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