- Many TaNC projects will produce open access platforms and new interfaces to deliver content for exploration and research within the new platform.
- A number of TaNC projects will publish datasets CC0. The catalogue data is not seen as commercially viable compared to other media, and therefore can be released to satisfy open access goals.
- Some GLAMS will provide data to TaNC projects at lower resolutions than they maintain internally. Decisions on whether to provide less precise data for public consumption are taken by each GLAM.
- Some TaNC projects ingest and interlink complementary, open, machine-readable, unstructured and/or structured data (i.e., Wikidata) published by GLAMs and organisations both in and outside the UK.
These factors will shape which national collections and data are integrated into TaNC and other UK GLAM projects, in addition to how they can be viewed and reused by the public(s).[1]
First, open access is extended to the TaNC project platforms, but not the digital collections they aggregate. Users will experience and engage with rights-restricted collections through the curated narratives, algorithms and selection processes discussed in the previous section.
Second, CC0 datasets published to the public domain require levels of digital literacy or expertise to ingest data, run queries, build apps and make other uses.
Third, digital collections published under open licences and public domain tools are receiving greater attention than those restricted by rights and technical protection measures. For example, open GLAMs have observed wider image circulation and reuse via unforeseen external platforms. These external interfaces produce new data on unexpected reuse of and interest in the collection.
To illustrate, Birmingham Museums Trust publishes collections as CC0 via a digital asset management system. There, the most downloaded images are also those most well-known. Of the collection, 312 assets have reappeared on Unsplash where all context around the images has been removed.[2] This has produced novel and interesting results. Unsplash tracks statistics on reuse and supplies new data to organisations. The Trust found users were downloading and reusing collections in new and fascinating ways without institutional involvement. One surprise has been the interest in The Phantom Horseman by Sir John Gilbert, which has been viewed more than 4,700,000 times and downloaded more than 38,000 times.[3] This can be compared against the wider collections data, which has been viewed more than 10,000,000 times and downloaded more than 68,000 times. By contrast, this image received 1,425 views and 40 downloads on the Trust's website.[4] That users can access collections outside of the institutional selection process is seen as important to how, and with what, users engage.
Fourth, the limited extent of UK open GLAM activity indicates meaningful reuse may increasingly shift to the many high-quality digital collections published outside of the UK. This is true of the UK
