I'm here to talk about our cultural hackathon, Coding Da Vinci, that will take place in autumn this year in Lower Saxony hosted by TIB among others. My name is Philipp Journet. I lead the headquarters office of Coding Da Vinci at the German National Library in Frankfurt.

First of all, I want to ask, what does hackathon mean in the first place? I'm sure all of you might know that, but perhaps someone in the live stream doesn't, so I'll give it a go. To hack is an English expression for solving problems,

and a marathon is a long distance and intensive effort. So hackathon is a event format that produces a maximum of creative solution approaches in a short period of time.

The problem to be solved, the problem in the case of Coding Da Vinci is making digital cultural heritage usable, tangible, and relevant by designing innovative application and use cases. These are the four people who had the idea back in 2014.

The idea was bringing cultural institutions together with the tech community in order for them to co-develop innovative usages for digital cultural heritage. The founding institutions are the German Digital Library, the Center for Research and Excellence in Digitization in Berlin,

the Open Knowledge Foundation at Wikimedia Germany. Since the last year, the project is also being funded by the German Federal Cultural Foundation. Those four founders, what did they aim at? They wanted to bring to life the idea and the value of open cultural data for

cultural institutions as well as the tech community. They wanted to build networks between the two communities. They wanted to promote and facilitate the reuse both of data and code, and they wanted to create new contexts for cultural data. In the end, they wanted to learn from each other's experience.

Hence, the idea of Coding Da Vinci. But what does this hackathon, what makes it special? Cultural data needs a little more attention and care than, for example, data emerging from economy or administration.

But usually, a hackathon only lasts for a weekend. So at Coding Da Vinci, the sprint stretches over several weeks, allowing to transform mere ideas into operational prototypes. The point is to get elaborate,

tangible results from the spontaneous hackathon ideas. The other thing that makes Coding Da Vinci special is its regionality. The first two editions in 2014 and 15 were nationwide events located in Berlin.

Only from 2016 on, Coding Da Vinci focused on varying regions, aiming to build more sustainable networks between local glams and communities. The 2020 spring edition of Coding Da Vinci takes place in the region of Saar-Lor-Lux,

in an unprecedented cross-border setting, inviting institutions and participants from Germany, Luxembourg and France. And finally, coming up in autumn this year, Coding Da Vinci settles for the land of Lower Saxony for the first time.

These are the participants. Who are they? It's a broad and diverse range of different people, developers, culturally interested persons, gamers, designers, artists, hackers, makers, and enthusiasts of new technologies and cultural data.

Up until now, almost 170 institutions have taken part in Coding Da Vinci and have provided more than 250 sets of open cultural data. 130 projects have been created within our hackathons.

And all of this data and all the projects can be found on our website, permanently and open for reuse. And now let me introduce you to some examples of what can happen at Coding Da Vinci. The first project I want to show you is Antlitz Ninja.

It proposes three randomly chosen sections of painted portraits on a web page. Each of these sections can be replaced by another one that is again randomly chosen. The sections can be zoomed in and out, moved and mirrored until the user is pleased with his or her collage.

The newly assembled artwork can then be downloaded as an image or PDF file. But of course, you can also download collages that don't make any sense like this one. In order to creatively recombine different parts of images,

the user of Antlitz Ninja has to focus on small details of artworks that are usually only perceptive as stereotypical echoes of ages past. And besides, and most importantly perhaps, it's fun.

The next project is more of a tool. Linked stage graph is an interactively explorable visualization of photos and data from performances of the Stuttgart theater provided by the archive of the Land of Baden-Württemberg. The data has been visualized with the aid of Vickers Viewer

and is searchable by different criteria. Here I have searched for performances of the play Minna von Bahnhein. You can zoom in and out at will. And as you may notice, the photos are not their original black and white.

That is because the project team has trained in artificial intelligence to color them. By choosing a certain picture, the metadata will be displayed. And now the reason why the project is called linked stage graph, the metadata have been enriched with links to linked data platforms

such as Wikidata or the GND. And this is one of my favorites. Jesuit priests had a tough life.

These paintings provided by the Municipal Museum of Landsberg am Lech depict and describe the life, work and death of Jesuits who were traveling to evangelize the pagan peoples all over the world. All too often, they encountered a cruel death.

Last year, the South edition of Coding da Vinci a team created an interactive terminal for the museum that brings the stories of those priests to life. Wooden statuettes equipped with RFID technology carry the story of a certain Jesuit.

Once placed on the terminal, they trigger a sound and video animation and the voice of a professional narrator recites the story of that specific priest, of his life and of his death. Only at the end, an analog effect serves as comic relief for those tragic tales.

But you might see that yourself best in this little video.

And this is it. Thank you for your attention.

And please make sure to drop by our homepage and explore all the wonderful projects we have in store. Thank you.