ࡱ>  { %bjbjzz cq~~":#,###%%% (>+ %˿69"9L99=7E,cGJLLLLLL$5p#\u=@=\\p>#>#99}ccc\>#89#9Jc\Jcc%Fmv#f9$n`H*60˿23a3lf3#f{HsOcmTiXK{H{H{Hppb {H{H{H˿\\\\3{H{H{H{H{H{H{H{H{H~ !:   DELIVERABLE Project Acronym: EAwareness Grant Agreement number: 297261 Project Title: Europeana Awareness D4.2: Report on aggregator distribution and effective aggregation models RevisionFinal report Date of submission8. December 2012Author(s)Aleksandra Uzelac, IMO Institute for International Relations Dissemination LevelOnly for members of the consortium and the Commission Services Project co-funded by the European Commission within the ICT Policy Support Programme REVISION HISTORY AND STATEMENT OF ORIGINALITY Revision History Revision No.DateAuthorOrganisationDescriptionV123. November 2012Aleksandra Uzelac IMO - Institute for International RelationsFinal draft report (prior to receiving comments from Culture24 and Plurio.net team)V28. December 2012Aleksandra Uzelac IMO - Institute for International RelationsFinal report (after receiving comments from Culture24 and Plurio.net team)V312. December 2012Aleksandra Uzelac IMO - Institute for International RelationsFinal version ready for proof/edit by WP leaders, Culture24V417. December 2012Aleksandra UzelacIMO - Institute for International RelationsFinal proof completed by Culture24 Statement of originality:  SHAPE \* MERGEFORMAT  Table of Contents  TOC \o "1-3" \h \z \u  HYPERLINK \l "_Toc343175218" Executive summary  PAGEREF _Toc343175218 \h 5  HYPERLINK \l "_Toc343175219" 1. Introduction  PAGEREF _Toc343175219 \h 11  HYPERLINK \l "_Toc343175220" 1.1. The research context  PAGEREF _Toc343175220 \h 11  HYPERLINK \l "_Toc343175221" 1.2. The research aims and methodology  PAGEREF _Toc343175221 \h 13  HYPERLINK \l "_Toc343175222" 1.3. The activities performed  PAGEREF _Toc343175222 \h 14  HYPERLINK \l "_Toc343175223" 2. Survey of cultural venue and events aggregators in Europe: an overview  PAGEREF _Toc343175223 \h 16  HYPERLINK \l "_Toc343175224" 2.1. General information  PAGEREF _Toc343175224 \h 16  HYPERLINK \l "_Toc343175225" 2.1.1. SURVEY DATA OVERVIEW  PAGEREF _Toc343175225 \h 17  HYPERLINK \l "_Toc343175226" 2.2. Main focus: content, users, geographical scope  PAGEREF _Toc343175226 \h 22  HYPERLINK \l "_Toc343175227" 2.2.1. SURVEY DATA OVERVIEW  PAGEREF _Toc343175227 \h 23  HYPERLINK \l "_Toc343175228" 2.3. Working practices collecting and sharing issues  PAGEREF _Toc343175228 \h 26  HYPERLINK \l "_Toc343175229" 2.3.1. SURVEY DATA OVERVIEW  PAGEREF _Toc343175229 \h 27  HYPERLINK \l "_Toc343175230" 2.4. Events and Venues listings data model  PAGEREF _Toc343175230 \h 31  HYPERLINK \l "_Toc343175231" 2.4.1. SURVEY DATA OVERVIEW  PAGEREF _Toc343175231 \h 32  HYPERLINK \l "_Toc343175232" 3. Concluding comments  PAGEREF _Toc343175232 \h 36  HYPERLINK \l "_Toc343175233" 4. Annex A - Survey of cultural venue and events aggregators: questions  PAGEREF _Toc343175233 \h 39  Executive summary 1. The research context This report, mapping the distribution, capacity and coverage of cultural venue and events data aggregators and aggregation models is a result of the research task 4.2.1. Assessing venue and events data aggregation models across Europe, commissioned by the Europeana Foundation, within the framework of activities of the Europeana Awareness Best Practice Network. The report forms part of Work Package 4 (WP4): Connecting cultural content with the tourism sector. The basic assumption of task 4.2.1 is that Europeana content can be made more useful and accessible to cultural tourists when combined with other data sources and packaged as a service to meet cultural tourists needs as part of their online workflows. It has been envisaged that such a service could be provided and supported by combining Europeana content with aggregated cultural venue and events data (Proposed Service). In order to understand in more detail the potential and practicalities of combining aggregated venue and events data with Europeana content to meet tourist user needs, it was necessary to explore what existing types of data aggregation services already exist in Europe and assess which of these is best suited as a basis for the Proposed Service to the end user. 2. The research approach This research aims to: identify existing cultural venue and events data aggregation services in Europe identify attributes of identified aggregation services, and to try to see what strategic and operational trends can be identified across such services. By data aggregation services we consider any database that pulls together similar data from external sources, and is presently able (or is planned to be in the near future) to import or export data from other external data publishing or aggregation services, including individual cultural venues and organisations. The focus was on aggregation services collecting cultural venue and events data about any or all of the following: performed music performing arts (theatre, dance) visual arts and design museums audio-visual arts/cinema literature, books and reading living heritage (i.e re-enactments) festivals. The information gathered through this mapping exercise is important when identifying and developing the operational data aggregation layer within the Proposed Service as identified within the research conducted by Culture24 in Task 4.1 on user and stakeholder needs. For this report, two kinds of data-gathering activities were performed: In order to identify existing cultural venue and events data aggregation services in Europe and gain insights into how they are organised, extensive on-line mapping of the cultural venue and events data aggregation services in Europe was undertaken. To gain deeper insight into the organisational aspects and working practices of the identified aggregating platforms, a survey of cultural venue and events aggregators in Europe was designed and undertaken. 3. Survey of cultural venue and events aggregators in Europe: an overview The survey explored cultural venue and events data aggregation services in Europe. It consisted of 32 questions attempting to provide insight into cultural aggregators general profile, main focus and orientation, working practices and particular details about their data model. Respondents profile: 35 aggregator organisations from 21 European countries provided answers to this survey. The target group to which the invitations for the survey were sent included mainly aggregators that either focused on culture (57%) or tourism sectors (22%) or on both (10%). Most respondents, while describing services they offer, indicated having similar missions, namely providing their users with insights into the cultural offer of a particular country, city or region. The majority of the surveyed aggregating platforms (cca. 75%) have a not-for-profit orientation, being mostly non-governmental organisations, public institutions or governmental bodies, while cca. 25% of aggregating platforms are private businesses. Main focus and scope of respondents information coverage: Most frequently covered subject categories are: visual arts and design, festivals, different forms of the performing arts, heritage and film. Museums and galleries are the most frequently covered venue types, followed by theatre and concert venues and different heritage sites. Culture-oriented platforms focus mostly on regularly organized cultural events, while the tourism-oriented platforms are slightly more oriented towards aggregating information on festivals, heritage and seasonal events that could be more interesting for tourists visiting the area. The most targeted audiences are: adults over 25 with a general interest in culture (91% primary target audience) and to a somewhat lesser extent: tourists international or national (60-65% primary target audience) children (under 16) is the least focused upon audience category - with only 20% answers placing them amongst primary target audiences. The geographical scope of the data : The geographical scope of the data that survey respondents aggregate is, in most cases, oriented to national (cca. 50%) or local levels (cca. 30%), or in some cases to cross border regional level (cca. 9%),while only a small number of the surveyed platforms systematically aggregate such information on European level. Updating frequency: Over 80% of respondents update their data sets continuously throughout the day or at least once a day. Data collecting methods: Online updating by registered users from cultural venues is the most important method of data collection, reported by 60% of respondents, but always in combination with other methods such as: automated ingest from other data sources (APIs, XML interface, RSS), user-generated information (by the public), editorial searching and compilation, etc. Automated methods of data collection such as using APIs, XML interface, or RSS are presently used by less than half of platforms that participated in this survey (37%). The culture-oriented platforms are more likely to organise their data collection process based on online updating from venues and event organizers themselves, while for the tourism oriented platforms this is not usual working practice. Tourism-oriented sites also reported using automated ingest from other data sources less frequently. Data sharing methods: A majority (68%) of respondents share (export) their venue and events data with third parties (e.g. publishers or consumers) and 18% reported planning to start doing it in the near future. Half or more of the respondents reported they are presently using some of the available methods of automated ways of data sharing (such as APIs, XML interface, RSS). Charging for providing information services: Individual users members of the public - are very seldom asked to pay for access to content and for them the content is free of charge. A minority of aggregators are regularly charging cultural venues and organisations providing information or 3rd parties (publishers/organisations) to which they supply aggregated data. The most frequent response received was that they do not charge for their services. Intellectual Property Rights (IPR): Having in place the process of clarifying the IPR of the collected data is the key element that facilitates or restricts cooperation and data sharing among potential partners. 60% of the respondents have a process of clarifying IPR in place. This sub-group may be considered as a basis for possible cooperation in developing a pilot for the Proposed Service. Events and venues listings data model: It seems that there exists a core data set of mandatory or optional data fields that are being registered in different databases. In EVENT data models the fields present in most data sets as mandatory (though sometimes optional) fields are: Event title Date(s) Venue/location of event Event description Time of event Type of event Event's subject theme or category Address. In VENUE data models mandatory data fields in over 75% of cases and optional in all other cases are: Venue name Type of venue (e.g. gallery/cinema etc.) Address. Language of data: More tourism oriented sites provide multilingual content for their users: about 70% of tourism-oriented sites and 58% of culture-oriented ones are providing multilingual content on their platforms. 4. Concluding comments Cultural venue and events aggregation services are acting as mediators, supporting the cultural venues to reach their audiences on digital platforms and tackling the problem of users attention scarcity by bringing information aggregated from numerous event organisers into specialised online calendars of events, thus providing users with information, in one place, about the cultural offer of the particular country, city or region. Alternatively the aggregation services may be data intermediaries, providing the aggregated data (sub) sets for other publishers. The survey responses do not indicate a big diversity in answers related to the organisational aspects of their work. They seem to be a rather comparable group, in terms of content coverage, target users and organisation of their data sets. By providing information on the cultural offer, they target culture-lovers that might be local citizens organising their free time activities, or tourists visiting a particular city, region or country. A limited comparison is undertaken of certain strategic and operational details identified within this research, against the ideal strategic and operational requirements of a data aggregation layer within the Proposed Service as identified within the Report on scoping and analysing the needs of tourists, public sector tourism bodies and the commercial tourism sector (D4.1 Report). The survey focussed upon a concrete task to review and explore existing cultural venue and events data aggregation services to determine if they meet tourist user needs. Even though the cultural offer of a particular city or region is of interest to cultural tourists, it is evident that cultural tourists are interested in a broader variety of cultural content than just cultural events. The survey data shows that tourism-oriented aggregation platforms have heritage-related information in their focus, for instance. The tourists information search behaviours when planning their trips differ. Among tourists informational requirements the D4.1 Report identified following issues: a strong desire from cultural tourists for cultural venue and events listings information that is up to date, local, niche, tailored to their requirements ... Peer review websites, Public Tourist Body websites and individual cultural venue websites are popular amongst cultural tourists when gathering information whilst there is some awareness currently of digitised collections information from cultural tourists, there is little usage of or engagement with it It seems that cultural tourists with an interest in cultural heritage will search for it in platforms focusing on the niche theme or locality and they do not usually explore big aggregating platforms holding digital collections with millions of digitised books, paintings, films, museum objects and archival records such as Europeana. Nevertheless, such content could be of interest to them if segregated according to particular niche interests and offered on those platforms they visit while planning their trip, or offered in specialised apps. Thus mixing heritage content (digitised collections) with venues and events related information for exploring particular niche interest or locality in the Proposed Service could respond to a potential users need. This survey has identified a core set of data fields that are being collected in different databases. The D4.1 Report identifies the requirements for venue and listings data sources to be taken into consideration during the scoping and specifications of pilot service aimed at cultural tourists. By comparing them we can observe that the requirements identified in the D4.1 Report generally correlate with the data sets of the respondents to the survey. This indicates that from a purely technical data perspective, the Proposed Service could potentially form partnerships with many of the responding platforms. However there are additional factors such as the quality of data, IPR status, ease of sharing data and desire to work collaboratively that must also be considered when assessing which if any of these aggregation services would be a useful partner within the Proposed Service. Further investigation and analysis is therefore necessary to identify this. In order to make sure that the Proposed Service is tailored to particular users requirements, it should be targeted towards identified user profiles and their recognised information search behaviours. For the Proposed Service to adequately supply information that is tailored to meet the needs of target cultural tourists, it is important for the cultural venue and events data aggregation layer to encompass a clear vision, understanding what it is trying to do and for whom, and translating this understanding into a concrete organisational meta-model upon which a particular service can be based. Introduction The research context This report on aggregator distribution and effective aggregation models is a result of the research task 4.2.1: assessing venue and events data aggregation models across Europe. This has been commissioned by the Europeana Foundation, within the framework of activities of the Europeana Awareness Best Practice Network. This work forms part of Work Package 4 (WP4): Connecting cultural content with the tourism sector which focuses on: the distribution of content through established tourism sector online services, combining cultural and historical digital collections content with cultural listings in practical ways. A primary focus will be on combining Europeana content with location based venue and event information in order to enrich the travel and tourism offer for cultural tourists. Europeana is a single access point to millions of books, paintings, films, museum objects and archival records that have been digitised throughout Europe. One of the fundamental aspects of our cultural memory, in addition to communication, is access to culture. A Digital Agenda for Europe describes a complex framework within which the development of online services and opening up of cultural content should be looked at. Within this Agenda, the opening up of access to content is listed as contributing towards a vibrant European digital single market. Europeana is listed in this strategy as a flagship cultural project, bringing benefits to EU society through smart use of ICT and revealing information that promotes cultural diversity, creative content and accessibility of European cultural heritage online. Whilst its approach emphasises the so called supply side of cultural content provision, it is clear that a demand side focus on users habits, expectations and tastes also plays a significant role in achieving success within the digital space. Connecting the needs of users with available tools gives rise to new (and sustainable) services. Therefore understanding the possibilities that digital networks bring as well as users expectations, motivations and interests is crucial for the cultural sector. Knowing how users interact with available content and where they look for information is helpful when identifying barriers that might be present on cultural portals and websites. Task 4.2.1: assessing venue and events data aggregation models across Europe, had the aim of reviewing and exploring venue, events and exhibitions aggregation and sharing services in Europe. The premise of this task was based upon the assumption that Europeana content can be made more useful and accessible to cultural tourists when combined with other data sources and packaged as a service to meet cultural tourists needs as part of their online workflows. Within the scope of activities of WP4, it has been envisaged that a service (Proposed Service) could be provided and supported by combining Europeana content (digital collections metadata) with aggregated cultural venue and events data. When conceptualising and constructing such a service it is necessary to take into account the demand side i.e. the target users (in this case tourists), as well as, the interests and technical and organisational capabilities of potential partners (cultural aggregators). The user needs analysis, undertaken within task 4.1 explores the overall feasibility of such a service in meeting user needs, both from a strategic and operational perspective. In order to understand in more detail which data aggregation services could be combined with Europeana content to meet tourist user needs, it was necessary to explore what existing types of data aggregation service already exist in Europe and assess which of these is best suited to the end user as a basis for the Proposed Service. The work has been carried out by IMO Institute for International Relations from Croatia, and it has been supported by Culture24 from UK and Plurio.net from Luxembourg, partners in WP4. IMO - The Institute for International Relations is a public, non-profit, scientific and policy research institute, engaged in the inter-disciplinary study of international economic, political, cultural relations and communication. Cultural policy and communication constitutes one of the fields of IMO's expertise that has been continuously researched within the scope of activities of IMO's Department for Culture and Communication that is engaged in cultural research and analysis, especially in the field of cultural identities, cultural policies and cultural cooperation, media policies and digital culture. ( HYPERLINK "http://www.imo.hr" www.imo.hr) Culture24 is a non-profit cultural publishing organisation based in the UK, existing to support arts and heritage venues to reach audiences across digital platforms. As well as maintaining an online cultural venue and events listings database and publishing platform, Culture24 has also developed a strong expertise in leading research projects that are exploring how arts and heritage venues engage with their audiences digitally. ( HYPERLINK "http://www.weareculture24.org.uk" www.weareculture24.org.uk) Plurio.net (Agence luxembourgeoise daction culturelle asbl) - The Agence luxembourgeoise daction culturelle asbl is a non-profit association between the Ministry of Culture of Luxembourg and the City of Luxembourg. It is the lead partner and legal representative of the Plurio.net project since 2004. It benefits from a sustainable funding of the partner consortium consisting of the public cultural administrations and ministries of the Greater Region Luxembourg (LU), Wallonia (BE), Lorraine (FR), Saarland (DE), Rhineland-Palatinate (DE). Plurio.net is an infrastructure for the collection and dissemination of event information in the Greater Region. In the challenging cross-border context of the Greater Region, Plurio.net has tackled questions and found solutions relevant to the Europeana Awareness project, i. e. multilingual content dissemination, data transfer to tourism, technical aspects of intersectorial data transfer, etc. ( HYPERLINK "http://www.plurio.net" www.plurio.net)  The research aims and methodology This research aims to: Identify existing cultural venue and events data aggregation services in Europe; Identify attributes of identified aggregation services, and try to see what strategic and operational trends can be identified across such services. The information gathered through this mapping exercise is important when identifying and developing the operational data aggregation layer within the Proposed Service as identified within the research conducted in Task 4.1. We have explored cultural venue and events data aggregation services in Europe. By data aggregation services we consider any database that pulls together similar data from external sources, and is presently able (or is planned to be able in the near future) to import or export data from other external data publishing or aggregation services. The focus was on aggregation services collecting cultural venue and events data, meaning any venue and events specific information that could include areas such as: Performed music Performing arts (theatre, dance) Visual arts and design Museum events Audio-visual arts/cinema Literature, books and reading Living heritage (i.e. re-enactments) Festivals. For this report, two kinds of data-gathering activities were performed: 1) An extensive online exploration of cultural venue and events data aggregation services in Europe. The challenges when performing this task were overcoming the language barriers and ensuring that we had identified a sufficient sample of relevant aggregating platforms across Europe, regardless of the language of the data. From the information available on the identified aggregating services websites, a description of their working and organisational attributes were carried out according to the following template: Name and web address of the aggregation service Country Email and full contact details Social networking profiles Organisational structure and business model Short description Main orientation (i.e. culture focused, tourism focused or general) Content of their events or venue listings (i.e. what they cover, their description and links) Data sources for events and venue related content Data sharing capabilities (i.e. whether they have XML or API interfaces to export/import data) Whether they collect information about cultural heritage and identifying what kind of information IPR policy. 2) A survey of cultural venue and events aggregators in Europe. This was designed and conducted with the aim of gaining a deeper insight into the organisational aspects and working practices of the identified aggregating platforms. Chapter 2 of this report details the findings from this survey. The activities performed The activities undertaken within Task 4.2.1 included: Identifying existing cultural aggregating platforms in Europe to which the survey could be sent Designing and implementing the online survey Sending out survey invitations and collecting responses Analysing survey responses The task of identifying existing cultural aggregation platforms in Europe that fit the given criteria was conducted through an extensive online search of the appropriate platforms. There were no online directories indexing existing aggregation sites that enabled easy identification of such online platforms. Therefore search strategies included: Google search of appropriate keywords (including culture + selected country / art and cultural events /cultural agenda / culture guide /cultural or event calendar / cultural artistic manifestations guide / culture portal / cultural tourism) in both English and a language spoken in the country being researched; Searching through the relevant online cultural resources in particular European countries (including relevant cultural organisations, cultural portals, city/town portals, online cultural reviews (journals), public bodies governing culture sector, tourism boards, etc.); Asking the Europeana Awareness Network for help in identifying relevant cultural events aggregators in their respective countries. The process of identifying relevant European events and venues aggregation platforms was conducted from June to August 2012. This identified about 170 such platforms. In addition to assembling the contact list of relevant platforms for the survey, more detailed mapping was carried out. This focused on identifying approximately 2-4 culture and tourism orientated platforms per country, describing their general profile and the organisational aspects of their venue and events listings (based on insight gained from information available on their websites). To gain deeper insight into the organisational aspects and working practices of the identified aggregating platforms, a survey was designed. The design of the survey of cultural venue and events aggregators in Europe was completed in September 2012. The team that participated in the survey design consisted of Anra Kennedy, Jane Finnis and Sejul Malde from Culture24 team; Frank Thinnes from Plurio.net; and Aleksandra Uzelac from IMO, who ran the survey and analysed the survey results. The survey questions sought to collect specific strategic and operational data from aggregation services focusing on technical and organisational aspects of their work that would provide relevant empirical information input for the Proposed Service. The survey was implemented using the  HYPERLINK "http://www.surveymonkey.com" www.surveymonkey.com platform. It was open for four weeks, from September 25th till October 21st 2012. An attempt was made to identify existing cultural aggregating platforms in different European countries and invite them to participate. An invitation was sent to about 170 identified platforms in the survey contact list, with which there were no previously established cooperation activities. Encouraging respondents to fill in the survey was a difficult task. Weekly reminders were sent and numerous phone calls made to the most relevant platforms in the contact list in order to invite a response. Their contact details were identified from the information available on their websites; in many cases these were limited to general email addresses for correspondence with their audience. In some cases the only contact possibility provided for was an online contact form. Therefore direct contact with respondents could not always be established. The response rate was approximately 20%. Out of 41 started surveys, 35 were completed or mostly completed, and are valid for this analysis. Whilst this does not represent a statistically significant data sample that would allow us to identify some general trends across a breadth of respondents, the completed surveys do provide a useful depth of insight into the practices and organisational aspects of the respondents when seeking to determine potential partners for the Proposed Service. An overview of the survey findings is presented in the next chapter, while the questionnaire used can be found in Annex A. Survey of cultural venue and events aggregators in Europe: an overview General information The survey explored cultural venue and events data aggregation services in Europe. It consisted of 32 questions attempting to provide insight into cultural aggregators general profile, main focus and orientation, working practices and particular details about their data model. The survey questions focused on technical and organisational aspects of aggregators work that would provide relevant information input for the planning of the Proposed Service. Respondents profile: 35 aggregators platforms from 21 European countries provided answers to this survey (Table 1). The target group to which the invitations for the survey were sent included mainly aggregators sites that either focused on culture or tourism sectors. Out of the responses received, 57% of the respondents had a predominantly cultural focus, 23% were tourist-oriented and 12% focused on both (Table 4). Main services provided: Most respondents, while describing services they offer, indicated having similar missions, namely providing users within insights about the cultural offer of a particular country, city or region (for example): information about major exhibitions and museums' resources in Europe together with practical information about museums, with special focus on temporary exhibitions The largest cultural calendar and data source for many other sites in Denmark. information concerning the tourist frequentation of Paris Major Event Guide for Copenhagen an overview of Estonian cultural events in Estonia and abroad Summary of Cultural Events in Prague website about art exhibitions in France, Belgium, Luxembourg and Switzerland Major events in Portugal to promote the cultural life to service Oslo's visitors and locals with detailed event listings insight into Austrias cultural life access to all cultural virtual resources in Croatia The most frequently used keywords while describing their services include: Cultural Events; Services; Exhibitions; Collect; Calendar; Social; Event Listings; Tourist; Content; Public; Smart Phone; Artists; Daily Basis; Information. Business model: The majority of the surveyed aggregating platforms (cca. 75%) have a not-for-profit orientation, being mostly non-governmental organisations (cca. 35%), public institutions (cca. 14%), or governmental bodies (cca. 11%), while cca. 25% of aggregators platforms are private businesses (Table 3 and 3a). Even though the aggregating services do not need to have public facing online portals and can be focused on gathering and sharing data rather than self publishing, a large majority of the surveyed aggregators do have user facing portals for self-publishing information (Table 5). 2.1.1. SURVEY DATA OVERVIEW Aggregation services participating in the survey Table 1 (answered question 35 / skipped question 0) The name of the aggregation service (or organisation)CountryKulturleben (www.kulturleben.at)AustriaCommissariat gnral au Tourisme (strategie.tourismewallonie.be)Belgium EVENTS.bg (EVENTS.bg)BulgariaCulturenet.hr (www.culturenet.hr)CroatiaKulturpunkt.hr (www.kulturpunkt.hr)CroatiaCyprus Tourism Organisation (www.visitcyprus.com)CyprusCyprusEvents.net (www.cyprusevents.net)CyprusPrague Information Service (www.praguewelcome.com)Czech RepublicZaKulturou.cz (www.zakulturou.cz)Czech RepublicKultuNaut (www.kultunaut.dk)DenmarkWonderful Copenhagen (www.visitcopenhagen.com)DenmarkEstonian Institute (www.culture.ee/en/)EstoniaAgendaCulturel.fr (www.agendaculturel.fr/)Franceexponaute (www.exponaute.com)FranceParis convention and visitors bureau (en.parisinfo.com/paris-in-figures-en/)Francevillers la chvre (www.villerslachevre.fr)Franceeuromuse.net - the exhibition portal for Europe (www.euromuse.net)GermanyMinisterium fr Bildung, Wissenschaft, Weiterbildung und Kultur (www.kulturland.rlp.de)GermanyEurodistrict SaarMoselle EDSM (www.saarmoselle.org / www.ticket-saarmoselle.eu / www.warndt.eu)Germany / FranceDnote (www.dnote.info)IrelandVisual Artists Ireland (www.visualartists.ie / www.visualartists-ni.org)IrelandESN (www.esnlithuania.org)Lithuania Luxembourg City Tourist Office - LCTO (www.lcto.lu)LuxembourgOffice National du Tourisme (www.visitluxembourg.com)LuxembourgPLURIO.NET (www.plurio.net)LuxembourgVVV Nederland (www.vvvalmere.nl)NetherlandsVisitOSLO (www.visitoslo.com)NorwayMajor events (in www.visitportugal.com)PortugalSEEcult.org (www.seecult.org)SerbiaYellow Cab (www.yc.rs)SerbiaSlovak Tourist Board (www.slovakia.travel)Slovakiakulturnik.si (www.kulturnik.si)SloveniaLjudmila Art and Science Laboratory (www.culture.si)SloveniaAssociation for Culturenet Sweden SwedenCulture24 (www.weareculture24.org.uk)United Kingdom (Table 2 has been redacted in this public version of the report as it quotes survey responses). Type of organisation  Table 3 (answered question 35 / skipped question 0) Not-for-profit 74.3% 26Profit-making 25.7% 9   Table 3a Non-governmental/association or foundation 34.3% Public institution/body 14.3% Governmental body 11.4% Private business 25.7% Other 14.3%  The focus of the data set   Table 4 (answered question 35 / skipped question 0) Cultural 57.1% Touristic 22.9% Sports 0.0% Leisure 0.0% Education 8.6% Other (touristic, leisure and culture)11.4%  Platforms having their own public-facing website/s   Table 5 (answered question 35 / skipped question 0) Yes 91.4% 32No 8.6% 3 Main focus: content, users, geographical scope The survey also sought to identify the strategic and operational attributes of respondents, seeking to determine their main focus and scope of information coverage. Almost all respondents collect information about both venue AND event listings, thus providing a breadth of information for their users (Table 6). These listings cover different subject categories with the most frequently covered fields being: visual arts and design (91%), festivals (83%), different forms of the performing arts (71% - 77%), heritage (71%) and film (68%) (Table 7). Museums (100%) and galleries (82%) are the most frequently covered venue types, followed by theatre and concerts venues (76% - 70%) and different heritage sites (67-73%) (Table 8). There are no significant differences in content coverage between culture and tourism oriented platforms, as both cover a variety of subject categories. However, culture-oriented platforms focus mostly on regularly organised cultural events, while the tourism-oriented platforms aggregate information on festivals and seasonal events that could be more interesting for tourists visiting the area (Table 9). The content of survey respondents is focused towards different target audiences and consumers (Table 10), with the most targeted categories being: Adults over 25 with a general interest in culture (91% primary target audience / 6% secondary target audience), Tourists international or national (60%-65% primary target audience / 30%-23% secondary target audience) and Cultural professionals (67% primary target audience / 22% secondary target audience). Young people (under 25) also represent a relevant target group (53% primary target audience / 41% secondary target audience), as well as subject enthusiasts (54% primary target audience / 27% secondary target audience), educational professionals (45% primary target audience / 42% secondary target audience) and university students and researchers (42% primary target audience / 38% secondary target audience). Families and senior citizens are recognized as relevant audience and primary target groups by no more than 50% of aggregators who responded to the survey, but they are recognized as the secondary target group in slightly less than 40% of cases. Children (under 16) is the least focused upon audience category, with only 20% of respondents claiming them as a primary target audience, 43% recognising them as a secondary target audience and 36% not recognising them as a target audience at all. The geographical scope of data that survey respondents aggregate is, in most cases, oriented to national (cca. 50%) or local levels (cca. 30%), or in some cases to cross border regional level (cca. 9%). Only a small number of the surveyed platforms systematically aggregate such information on European wide level (Table 11). In aggregating the data they use both publicly funded and commercial/independent sector sources (Table 12). 2.2.1. SURVEY DATA OVERVIEW Do you collect information about? Table 6 (answered question 34 / skipped question 1) Yes NoCultural venues100.0% 0.0% Cultural events93.9% 6.1%  Areas or subject categories covered  Table 7 (answered question 35 / skipped question 0) Visual Arts / design 91.4% Architecture 74.3% Film 68.6% Crafts 60.0% Dance 71.4% Science 48.6% Festivals 82.9% Heritage / history 71.4% Literature / Poetry 57.1% Music 77.1% Drama / theatre 77.1% Comedy 60.0% Digital collections 34.3% Nature / environment 65.7% Nightlife 51.4% Other 25.7%  Venue/organization types  Table 8 (answered question 34 / skipped question 1) Galleries 82.4% Museums 100.0%Archives 52.9% Libraries 47.1% Cinemas 58.8% Nightclubs/pubs/bars 44.1% Theatres 76.5% Concert venues 70.6% Historic buildings 73.5% Heritage / archaeological sites 67.6% Parks and gardens 58.8% Visitor attractions 55.9% Zoos 29.4% Sports facilities 38.2% Leisure facilities 44.1%  Types of events covered  Table 9 (answered question 35 / skipped question 0) Temporary exhibitions 91.4% Permanent exhibitions 68.6% Concerts 80.0% Performances 82.9% Film screening 54.3% Festivals, 85.7% Workshop or activity session 57.1% Storytelling session 48.6% Seasonal event 77.1% Living history or re-enactment 51.4% Lecture 62.9% Late opening 40.0% Guided tour 57.1% Schools only events 25.7%  Target audiences and consumers  Table 10 (answered question 35 / skipped question 0) Audience Primary target audience Secondary target audience Not a target audienceChildren under 16 years of age 20.0% 43.3% 36.7% Young people aged 16-25 52.9%  41.2% 5.9% Adults over 25 with a general interest in culture 91.2% 5.9% 2.9% Adults over 60 (seniors) 48.5% 39.4% 12.1%Parents / families 50.0% 37.5% 12.5%Cultural professionals / experts / policy makers 67.7% 22.6% 9.7% Subject enthusiasts (niche/specialists) 54.5% 27.3% 18.2%Educational professionals and teachers 45.5% 42.4% 12.1%University / graduate / doctorate students and researchers 41.9% 38.7% 19.4%International tourists 60.6% 30.3% 9.1% Regional / national tourists 65.7% 22.9% 11.4% Geographical scope of the aggregated data   Table 11 (answered question 35 / skipped question 0) Local/regional 31.4% National 51.4% Cross-border 8.6% European/international 8.6%  Type of sources for aggregating data   Table 12 (answered question 33 / skipped question 2) Only publically-funded sources 3.0% Only commercial / independent sector sources 3.0% Both of the above 93.9%  Working practices collecting and sharing issues For most of the surveyed cultural aggregator platforms, collecting information and updating their data set is a constant activity. (Table 13) Over 80% of respondents (i.e. 90% for the culture-oriented platforms and cca. 75% for tourism-oriented ones) update their data set continuously throughout the day or at least once a day. Only a small minority reported updating their data set on a monthly basis, which represents an exception to the rule. Where this happens it is largely related to the format of their work (e.g. publishing monthly bulletins with cultural events) or catering for more specialised audiences (e.g. international students) who require less frequently updated information. Given the frequency of daily updates of data sets, the process of collecting information should be as efficient as possible (Table 14, 14a). Even though editorial searching and compilation is still the most frequently reported way of collecting information in this survey, it is used in combination with other methods of data collection given its time consuming nature. Online updating by registered users from cultural venues is also a favoured method of data collection, reported by 60% of respondents. It is also always used in combination with other methods of data collection, such as automated ingest from other data sources (APIs, XML interface, RSS), user-generated information gathering (by the public) and editorial searching and compilation. Given that updating of data sets is a constant and time-consuming activity, automated methods of data collection such as using APIs, XML interface and RSS will become more significant over time. However currently it is used by less than half of platforms that participated in this survey (37%). The culture-oriented platforms have organized, to a greater extent, their data collection process based on online updating from venues and event organizers themselves, while for the tourism-oriented platforms this is not usual working practice. Tourism-oriented sites also reported less frequently using automated ingest from other data sources. Given their orientation to seasonal events, there seems to be less urgent need for using such methods. For aggregating platforms collecting and sharing are two sides of the same process, as they need to be able to collect data from different venues into their system, as well as, possibly offer their data services (or its specific subsets) to be incorporated into other platforms or services. A majority (68%) of respondents share (export) their venue and events data with third parties (e.g. publishers or consumers) and 18% indicated that they were planning to start doing so in the near future (Table 15, 15a, 15b). Given the necessity of keeping such data updated, the use of automated data sharing methods such as APIs, XML interfaces and RSS becomes more important. Half or more of the respondents reported they are presently using some of the available methods and it is expected that this will become even more significant over time. As the collecting and sharing of data is a core business process for cultural aggregators, we asked them if they are charging for providing their information services (Table 16). Quite predictably, given todays attention economy, end users are seldom asked to pay to access the content. Similarly, on the collecting and sharing sides, only a minority of aggregators are regularly charging cultural venues and organisations for providing their information (12%) or charging 3rd party publishers/organisations for supplying aggregated data for them to publish (10%). In most cases aggregators do not charge for their services (in about 65% of cases), while some occasionally charge cultural venues that are providing information (13%) or 3rd party publishers/organisations to which they supply aggregated data (15%). Another important issue related to collecting and sharing processes is the legal aspect, i.e. the possibility of using, or sharing, data with respect to Intellectual Property Rights (IPR). Thus, having in place the process of clarifying the IPR of the collected data represents the element that facilitates or restricts cooperation and data sharing among potential partners. As 60% of the respondents have such a process in place (Table 17), this subgroup may be considered as a basis for possible cooperation in developing a pilot for the Proposed Service. 2.3.1. SURVEY DATA OVERVIEW Updating frequency   Table 13 (answered question 35 / skipped question 0) Constantly (ongoing) 65.7% Daily 14.3% Weekly 0.0% Monthly 5.7% Other (twice a week, via API) 14.3%  Data collecting methods   Table 14 (answered question 35 / skipped question 0) Online updating by registered users within the venues/cultural organisations 60.0% User-generated information, by the public 34.3% Web scraping 31.4% Editorial searching and compilation 71.4% Automated ingest from other data sources (APIs, XML interface, RSS) 37.1% Semi-automated ingest from other data sources (e.g. Excel, CSV) 20.0%Other (email submissions)14,2%   Table 14a (answered question 21 / skipped question 14) Yes No OccasionallyAPI 38.5% 53.8% 7.7% XML interface 66.7% 33.3% 0.0% RSS 42.9%42.9% .3% CSV/Excel 30.8% 53.8% 15.4%  Data sharing methods   Table 15 (answered question 32 / skipped question 3) Yes 68.8% No 6.3% Not yet but plan to in future 18.8%Don't know 6.3%   Table 15a (answered question 32 / skipped question 3) Yes No Don't knowAPI 47.4% 36.8% 15.8% XML interface 63.6% 27.3% 9.1% RSS 69.6% 26.1% 4.3% CSV/Excel 55.0% 35.0% 10.0%    Table 15b (answered question 24 / skipped question 11) Web resolution (approx 72 dpi) 66.7%Print resolution (approx 300 dpi) 37.5%Variable resolutions (no constraints are imposed) 33.3%Don't know 16.7% Do you charge the following groups for your services?  Table 16 (answered question 32 / skipped question 3) Yes, ongoing fees Yes, one-off fee Occasionally No Not applicable Cultural venues and organisations providing information 12.5% 3.1% 15.6% 65.6% 3.1% 3rd party publishers/organisations to whom you supply data 9.7% 3.2% 12.9%  64.5% 9.7% Members of the public accessing the information 6.3% 3.1% 0.0% 87.5% 3.1%  Intellectual Property Rights  Table 17 (answered question 30 / skipped question 5) Yes 60.0%No 20.0% Don't know 20.0%  Events and Venues listings data model The survey sought to explore the data models of responding aggregation services, with the aim of providing some useful technical insights. This would allow WP4 partners to identify any potential technical data sharing obstacles when evaluating respondents as future collaborators within the Proposed Service, assuming they held an interest in doing so. When asked whether they may be interested in becoming part of a pilot project packaging their data with digital collections content from Europeana, 87% responded positively, providing circumstances would allow it. (Table 23) This part of the survey examined the structure and format of respondents EVENTS and VENUES data models. From the survey responses, a core data set of mandatory or optional data fields can be identified. In the EVENTS data model (Table 18) the fields present in most data sets as mandatory or sometimes optional are: Event title Date(s) Venue/location of event Event description Time of event Type of event Event's subject theme or category Address. Mostly optional, but still present in high percentage across databases are data fields describing: Events Url Geo-location info (longitude/latitude) Ticketing/booking info Price Target audience category. In the VENUES data model (Table 19), mandatory data fields present in over 75% of cases and optional in all other cases are: Venue name Type of venue (e.g. gallery/cinema etc.) Address. The rest of the data fields in the VENUES data model are mandatory in less than 50% of cases, but they are frequently collected as optional data. These are: Venue description Venue's subject theme (e.g. art, science, history etc.) URL Geo-location (longitude/latitude) Ticketing/booking info Venue charges/entry fees Opening hours Target audience categorisation. The target audience categorisation is the least present data field across both EVENTS and VENUES databases. In addition to the above described data sets, the events and venues listings also collect associated media files. These are mostly image and/or video files and sometimes audio files (Table 20). While there exists a certain similarity in data models, the systems are implemented using different software platforms, but SQL based platforms are the most widely used among survey respondents (Table 21). Two thirds of surveyed platforms provide multilingual content to their users (37% have partly multilingual content and 28% fully multilingual). As expected, more tourism-oriented services provide multilingual content for their users (70%), in comparison to culture-oriented ones (58%). The metadata is in 43% of cases monolingual, 25% provides full multilingual metadata support and 32% provides partly multilingual metadata support (Table 22). 2.4.1. SURVEY DATA OVERVIEW The structure and format of EVENTS data model  Table 18 (answered question 32 / skipped question 3) Data fieldMandatory Optional Do not collectEvent title 96.9% 0.0% 3.1% Date(s) 96.9% 0.0% 3.1% Event description 74.2% 22.6% 3.2% Time of event 73.3% 20.0% 6.7% Type of event 83.3% 10.0% 6.7% Event's subject theme or category (e.g. art, science, history) 65.6% 28.1% 6.3% Venue/location of event 93.8% 3.1% 3.1% Address 77.4% 12.9% 9.7% Url 40.0% 53.3% 6.7% Geolocation info (longitude/latitude) 24.1% 51.7% 24.1%Ticketing/booking info 22.2% 63.0% 14.8%Price 32.1% 57.1% 10.7% Target audience category 10.3% 44.8% 44.8% The structure and format of VENUE data model  Table 19 (answered question 29 / skipped question 6) Data fieldMandatory field Optional field Do not collectVenue name 96.4% 3.6% 0.0% Type of venue (e.g. gallery/cinema etc.) 78.6% 17.9% 3.6% Venue description 50.0% 50.0% 0.0% Venue's subject theme (e.g. art, science, history etc.) 44.4% 51.9% 3.7% Address 85.2% 14.8% 0.0% URL 48.0% 52.0% 0.0% Geolocation (longitude/latitude) 36.0% 40.0% 24.0% Ticketing/booking info 12.5% 70.8% 16.7% Venue charges/entry fees 26.9% 61.5% 11.5% Opening hours 42.3% 46.2% 11.5% Target audience categorisation 11.1% 44.4% 44.4% Do you collect associated media files or urls as well as data?  Table 20 (answered question 29 / skipped question 6) Associated media filesYes No Don't knowIMAGES uploaded to your database 96.4% 3.6% 0.0% IMAGES - URLs only 39.1% 52.2% 8.7% VIDEO files uploaded to your database 26.1% 65.2% 8.7% VIDEO files - URLs only 68.0% 28.0% 4.0% AUDIO files uploaded to your database 30.4% 60.9% 8.7% AUDIO files - URLs only 38.1% 52.4% 9.5% WEBSITE URLs 100.0% 0.0% 0.0%  What technical system is your database built in?  Table 21 (answered question 25 / skipped question 10) Access 8.0% MySql 44.0%Sql 32.0%Filemaker 0.0% Excel 12.0%Don't know 4.0% Other(9): (Index+; Silverlight, BING maps, (IGN) Institut Gographic National de France; Python / Django; Drupal administration platform; PostgreSQL; Postgres; Webropol; Tellus GuestMaker Destinator; 4D SITLux) Is your content and metadata either monolingual or multilingual?  Table 22 (answered question 32 / skipped question 3) Monolingual Multilingual (partially across the database) Multilingual (fully across the database)Content 34.4% 37.5% 28.1% Metadata 42.9% 32.1% 25.0%  Are you interested in becoming part of a pilot project packaging your data with digital collections content from Europeana? Table 23 (answered question 32 / skipped question 3) Yes, very much 25.0% Maybe, depending on the circumstances 62.5% No thanks 12.5%  Concluding comments The information gathered through this current research can be used to identify and validate the necessary operational requirements for the data aggregation layer within the Proposed Service, as identified within the research conducted in Task 4.1. The insights gained through this current research can also be used to identify potential data aggregation partners for the Proposed Service. On the other hand, the Report on scoping and analysing the needs of tourists, public sector tourism bodies and the commercial tourism sector (D4.1 Report), produced within Task 4.1, explored users needs, behaviours and requirements that Proposed Service could tap into, thus providing guidance into scoping its content and services. In this chapter a limited comparison is undertaken of certain strategic and operational details identified within this research, against the ideal strategic and operational requirements of a data aggregation layer within the Proposed Service as identified within the D4.1 Report. The cultural venue and events aggregation services seek to respond to a niche market. In particular they are responding to simple but a relevant need, namely catering for the needs of various cultural venues and event organisers to make information on their everyday programmes visible to cultural audiences. They are acting as a sort of mediator, supporting the cultural sector to reach their audiences on digital platforms and tackling the problem of users attention scarcity, by bringing information aggregated from numerous event organisers into specialised online calendars of events, thus enabling users the insight into cultural offer of the particular country, city or region in one place. Alternatively they may be data intermediaries, providing the aggregated data (sub)sets for other publishers. Their survey responses do not indicate a big diversity in answers related to the organisational aspects of their work. They seem to be a rather comparable group, in terms of content coverage, target users and organisation of their data set. By providing information on the cultural offer, they target culture-lovers that might be local citizens organising their free time activities, or tourists visiting a particular city, region or country. This survey focussed upon a concrete task to review and explore existing cultural venue and events data aggregation services to determine if they meet tourist user needs. Understanding what users want and considering this in relation to available tools and data could give rise to new and sustainable services and help identify useful elements to be taken into consideration when conceptualising and developing the Proposed Service. The tourists information search behaviours when planning their trips differ. Among tourists informational requirements the D4.1 Report identified following issues: There is a strong desire from cultural tourists for cultural venue and events listings information that is up to date, local, niche, tailored to their requirements easily discoverable and navigable. Peer reviews websites, Public Tourist Body websites and individual cultural venue websites are popular amongst cultural tourists when gathering information and as such represent potential partners for the Proposed Service (D4.1 Report, page 49). Even though the cultural offer of a particular city or region is of interest to cultural tourists, it is evident that cultural tourists are interested in a broader variety of cultural content than just cultural events. The survey data shows that tourism-oriented aggregating platforms have heritage related information in their focus for instance. On the other hand, the D4.1 Report indicates that whilst there is some awareness currently of digitised collections information from cultural tourists, there is little usage of or engagement with it (D4.1 Report, page 49). It seems that cultural tourists with an interest in cultural heritage will search for it in platforms focusing on the niche theme or locality and they do not usually explore big aggregation platforms holding digital collections with millions of digitised books, paintings, films, museum objects and archival records such as Europeana. Nevertheless, such content could be of interest to them if segregated according to particular niche interests and offered on those platforms they visit while planning their trip, or offered in specialised environments. Thus mixing heritage content (digitised collections) with venues and events related information for exploring particular niche interests or localities in the Proposed Service could respond to potential users needs. The survey examined the structure and format of EVENTS and VENUES data models (see Chapter 2.4.) and their mandatory or optional data fields. A core set of data fields that is being registered in different databases has been identified, as well as the optional data fields present in a significant percentage across databases. Chapter 8 of the D4.1 Report (Proposed Supply), identifies the core/essential requirements, as well as useful supplementary requirements for venue and listings data sources to be taken into consideration during the scoping and specifications of pilot service aimed at cultural tourists (D4.1 Report, page 71). Essential requirements identified in the Users needs report (D4.1)Core data set elements identified by the survey (D4.2) Accurate geo-locations Accurate opening hours/event timings and entrance rates Name and a basic description of the venue or event Venue or event website url Breadth of coverage of relevant domain (eg. most cultural venues and events in particular locality or of particular type)  Event title, Date(s), Venue/location of event, Event description, Time of event, Type of event, Event's subject theme or category, Address. Supplementary requirements identified in the Users needs reportOptional data set elements identified by the survey A relevant/interesting/appealing image, cleared for use, at the required size and resolution Subject tags to facilitate discovery, personalisation and sharing Target audience information Detailed, audience-appropriate, descriptive copy Direct route to booking service (if relevant) Special offer or discount information Associated events/venues Associated content video/audio/text  Events Url, Events Geolocation info (longitude/latitude), Ticketing/booking info, Price, Target audience category Associated media files collectedIMAGES VIDEO files AUDIO files  From the above table we can observe that the requirements identified in the D4.1 Report generally correlate with the data sets of the respondents to the survey. This indicates that from a purely technical and data-modelling perspective, the Proposed Service could potentially form partnerships with many of the responding platforms. However there are additional factors such as the quality of data, IPR status, ease of sharing data and desire to work collaboratively that must also be considered when assessing which if any of these aggregations services would be a useful partner within the Proposed Service Further investigation and analysis is therefore necessary to identify this. The D4.1 Report indicates that cultural tourists want information that is up to date, local, niche, tailored to their requirements, easily discoverable and navigable (D4.1 Report, page 49). In order to make sure that the Proposed Service is tailored to particular users requirements, it should be targeted towards identified users profiles and their recognised information search behaviours. The D4.1 Report lists target audience information as well as detailed audience-appropriate descriptive copy among supplementary requirements to be taken into consideration while scoping such pilot service aimed at cultural tourists. However, in examining the structure of EVENTS and VENUES data models and their corresponding data fields, the survey data indicates that target audience categorisation is the least present data field across the databases. For the Proposed Service to adequately supply information that is tailored to meet the needs of target cultural tourists, it is important for the cultural venue and events data aggregation layer to encompass a clear vision, understanding what it is trying to do and for whom, and translating this understanding into a concrete organisational meta-model upon which a particular service can be based. Annex A - Survey of cultural venue and events aggregators: questions The basics 1. What is the name of the aggregation service (or organisation) you represent?_________________________________ 2. In which country is your aggregation service based?______________________________________________________ 3. When was your aggregation service launched?___________________________________________________________ 4. Is your organisation... Not-for-profit Profitmaking Other (please specify)_________________________________________________________________________ 5. Is your organisation... Nongovernmental/association or foundation Public institution/body Governmental body Private business Other (please specify)_________________________________________________________________________ 6. Please provide your contact details: Name: _____________________________________________________________________________________ Job title: ____________________________________________________________________________________ Organisation: ________________________________________________________________________________ Email address: _______________________________________________________________________________ Telephone number: ___________________________________________________________________________ Skype name: ________________________________________________________________________________ 7. Please provide a short description of your aggregating service (its main focus and mission, type of services it offers)._______________________________________________________________________________________________ 8. Does your organisation publish the data you collect on your own public-facing website/s? Yes No If yes, please provide URL:____________________________________________________________________ 9. If you publish information (specifications for example) about your aggregation service online please provide any relevant URLs: a_______________________________ b_______________________________ c_______________________________ 10. When you aggregate data do you have any of the following target audiences in mind as consumers? Primary target audienceSecondary target audienceNot a target audienceChildren under 16 years of ageYoung people aged 16-25Adults over 25 with a general interest in cultureAdults over 60 (seniors)Parents / familiesCultural professionals / experts / policy makersSubject enthusiasts (niche/specialists)Educational professionals and teachersUniversity / graduate / doctorate students and researchersInternational touristsRegional / national touristsOther - please specify:  About your data 11. Do you collect information (data) about: YesNoCultural venuesCultural eventsComments:  12. Which of the following best describes the focus of your data set? Cultural Touristic Sports Leisure Education Other (please specifiy)______________________________________________________________________ 13. What is the geographical scope of the data you aggregate? Local/regional National Cross-border European/international Please specify which regions/nations you cover:____________________________________________________ 14. Do you aggregate data from... Only publicallyfunded sources Only commercial/independent sector sources Both of the above If both, what is the approximate % split between public/commercial ?___________________________________ 15. Which of the following areas and/or subject categories does your database cover? (Please select all that apply.) Visual Arts / design Architecture Film Crafts Dance Science Festivals Heritage / history Literature / Poetry Music Drama / theatre Comedy Digital collections Nature / environment Nightlife Other (please specify)___________________________________________________________________________ 16. Which of the following venue/organisation types does your database cover? (Please select all that apply) Galleries Museums Archives Libraries Cinemas Nightclubs / pubs / bars Theatres Concert venues Historic buildings Heritage / archaeological sites Parks and gardens Visitor attractions Zoos Sports facilities Leisure facilities Other (please specifiy):__________________________________________________________________________ 17. Which of the following types of events do you cover? Temporary exhibitions Permanent exhibitions Concerts Performances Films screening Festivals Workshop or activity session Storytelling session Seasonal event Living history or re-enactment Lecture Late opening Guided tour Schools only events Other (please specify)___________________________________________________________________________ 18. How often is the data you collect updated? Constantly (ongoing) Daily Weekly Monthly Other (please specify)___________________________________________________________________________ 19. How do you collect your events and venue data? Please tick all that apply. Online updating by registered users within the venues/cultural organisations User-generated information, by the public Web scraping Editorial searching and compilation Automated ingest from other data sources (APIs, XML interface, RSS) Semiautomated ingest from other data sources (eg Excel, CSV) Other (please specify)________________________________________________________________________ 20. If you collect data in automated or semi-automated ways, do you use any of the following methods? YesNoOcca.sionallyAPIXML interfaceRSSCSV/ExcelOther (please specify) and if relevant, please provide sample URL:  21. Is your content and metadata either monolingual or multilingual (partially or fully across the database)? MonolingualMultilingual (partially across the database)Multilingual (fully across the database)ContentMetadataPlease specify languages used:  22. Please provide the following information about the structure and format of your EVENTS data model. MandatoryOptionalDo not collectEvent titleDate(s)Event descriptionTime of eventType of eventEvent's subject theme or category (eg art, science, history)Venue/location of eventAddressUrlGeolocation info (longitude/latitude)Ticketing/booking infoPriceTarget audience categoryComments:  23. Please provide the following information about the structure and format of your VENUE data model, ticking as many boxes as apply. Mandatory fieldOptional fieldDo not collectVenue nameType of venue (eg gallery/cinema etc)Venue descriptionVenue's subject theme (eg art, science, history etc)AddressURLGeolocation (longitude/latitude)Ticketing/booking infoVenue charges/entry feesOpening hoursTarget audience categorisationComments:  24. Do you collect associated media files or urls as well as data? If so please tell us which: YesNoDon't knowIMAGES uploaded to your databaseIMAGES - URLs onlyVIDEO files uploaded to your databaseVIDEO files - URLs onlyAUDIO files uploaded to your databaseAUDIO files - URLs onlyWEBSITE URLsOther (please specify):  Sharing your data... 25. What technical system is your database built in? Access MySql Sql Filemaker Excel Dont know Other (please specify)___________________________________________________________________________ 26. Do you have a process in place to clarify the IPR (Intellectual Property Rights) of the data you collect? Yes No Dont know 27. Do you share (export) any of your venue and events data with third party publishers or consumers? Yes No Not yet but plan to in future Dont know Other (please specify)___________________________________________________________________________ 28. If you do share or export any of your data which of the following methods do you use? YesNoDon't knowAPIXML interfaceRSSCSV/ExcelOther (please specify) - and if relevant, please provide sample URL: 29. If you share image files, what resolution are they? Please tick all that apply. Web resolution (approx 72 dpi) Print resolution (approx 300 dpi) Variable resolution (no constraints are imposed) Dont know 30. Do you charge the following groups for your services? Yes, ongoing feesYes, one-off feeOcca.sionallyNoNot applicableCultural venues and organisations providing information3rd party publishers/organisations to whom you supply dataMembers of the public accessing the informationOther (please specify):  Comments 31. Are you interested in becoming part of a pilot project packaging your data with digital collections content from Europeana? Yes, very much Maybe, depending on the circumstances No thanks Contact name and email address for partnership discussions:____________________________________________ 32. Would you like to add any additional comments?  Europeana Awareness: Annex I Description of work, (Chapter B3.2a. Chosen approach, page 55.) ( HYPERLINK "http://pro.europeana.eu/documents/904448/982553/Description+of+Work+Europeana+Awareness" http://pro.europeana.eu/documents/904448/982553/Description+of+Work+Europeana+Awareness)  Europeana website,  HYPERLINK "http://pro.europeana.eu/web/guest/about" http://pro.europeana.eu/web/guest/about  A Digital Agenda for Europe (2010)  HYPERLINK "http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=COM:2010:0245:FIN:EN:PDF" http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=COM:2010:0245:FIN:EN:PDF  Aleksandra Uzelac (2011) Digitisation How to fully exploit opportunities? / European Culture Forum 2011 - Panel 1  HYPERLINK "http://ec.europa.eu/culture/events/documents/issue-papers-panels.pdf" http://ec.europa.eu/culture/events/documents/issue-papers-panels.pdf  The material collected in this mapping process, contains descriptions of about 140 aggregators, providing overview of relevant aggregating platforms and describing their general profile and the organisational aspects of their venue and events listings. This information, gathered through the extensive internet search, is available in a separate working document that is available to the members of the WP4 working team and it does not form part of this report; it precedes and complements the information received through responses to the survey.  See Annex A Survey of cultural venue and events aggregators: questions  We are aware that the strategy used to identify existing cultural aggregating platforms in Europe has identified mainly public facing aggregating platforms (portals), while business facing ones (i.e. data intermediaries) would not always be discovered with this search strategy. Culture24 (2012). Report on scoping and analysing the needs of tourists, public sector tourism bodies and the commercial tourism sector. (D4.1., Europeana Awareness)     D4.2: Report on aggregator distribution and effective aggregation models PAGE  PAGE 39 This deliverable contains original unpublished work except where clearly indicated otherwise. 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" # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W Oh+'0$ <H h t  DReport on aggregator distribution and effective aggregation modelsAleksandra Uzelac,Deliverable template Europeana Awareness-MZAnra Kennedy2Microsoft Office Word@@|f@>n@>n'J)Z՜.+,D՜.+,x4 hp   Culture 24 CReport on aggregator distribution and effective aggregation models Title  8@ _PID_HLINKSA YGohttp://www.surveymonkey.com/;#lhttp://www.plurio.net/i"http://www.weareculture24.org.uk/ajfhttp://www.imo.hr/5__Toc3431752335Y_Toc3431752325S_Toc3431752315M_Toc3431752305G_Toc3431752295A_Toc3431752285;_Toc34317522755_Toc3431752265/_Toc3431752255)_Toc3431752245#_Toc3431752235_Toc3431752225_Toc3431752215_Toc3431752205 _Toc3431752195_Toc343175218RP Ehttp://ec.europa.eu/culture/events/documents/issue-papers-panels.pdfxbOhttp://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=COM:2010:0245:FIN:EN:PDFrm(http://pro.europeana.eu/web/guest/aboutu%Xhttp://pro.europeana.eu/documents/904448/982553/Description+of+Work+Europeana+Awareness  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~Root Entry F$nData 1TableWordDocumentcSummaryInformation(DocumentSummaryInformation8CompObjr  F Microsoft Word 97-2003 Document MSWordDocWord.Document.89q