1 Introduction 11 2 Data summary 12

2.1 Purpose 12

2.2 Types and formats 12

2.3 Origin 13

2.4 Re‐use 14

2.5 Expected size 15

2.6 Utility 16

  3. FAIR data 18 

    1. Making data findable, including provisions for metadata 18 

  

    2. Making data openly accessible 18 

  

    3. Making data interoperable 19 3.4 Increase data re‐use 20 4 Allocation of resources 21 

  
  

  

  

  5. Data security 22 

  

  6. Ethical aspects 23 

    1. Principles of participation 24 

  

    2. Principles of consent 24 

  

    3. Principles of security 24 

  

    4. Principles of privacy 25 

  

    5. Deliverables 25 

  
  

  

  7. Conclusions 26 

  

  

References 27

Annex A Ethics requirements 29

A.1 Information sheets 29

  1. Information sheet for people with learning disabilities 29 

  

  2. Information sheet for people with sensory disabilities 32 

  

  

A.2 Informed consents 34

  1. Informed consent for people with learning disabilities 34 

  

  2. Informed consent for people with sensory disabilities 36 

  

  

Figure 1: EDM class hierarchy [18]. 20

Figure 2: ARCHES Information Letter for people with learning disabilities –
general description. 29 Figure 3: ARCHES Information Letter for people with
learning disabilities – the research process (1/2). 30

Figure 4: ARCHES Information Letter for people with learning disabilities –
the research process (2/2). 31  
  
<table>  
<tr>  
<th>

Figure 5: ARCHES Information Sheet for people with sensory disabilities (1/2).

</th>  
<th>

32

</th> </tr>  
<tr>  
<td>

Figure 6: ARCHES Information Sheet for people with sensory disabilities (2/2).

</td>  
<td>

33

</td> </tr>  
<tr>  
<td>

Figure 7: ARCHES Consent Form for people with learning disabilities (1/2).

</td>  
<td>

34

</td> </tr>  
<tr>  
<td>

Figure 8: ARCHES Consent Form for people with learning disabilities (2/2).

</td>  
<td>

35

</td> </tr>  
<tr>  
<td>

Figure 9: ARCHES Consent Form for people with sensory disabilities.

</td>  
<td>

36

</td> </tr> </table>

#  Abbreviations

**API** : Application Programming Interface

**ARCHES** : Accessible Resources for Cultural Heritage EcoSystems

**BERA** : British Educational Research Association

**BSL** : British Sign Language

**CA:** Consortium Agreement

**CH** : Cultural Heritage

**CIDOC** : International Committee of

Documentation

**CMS** : Central Management Server

**Coprix** : (partner short name) Coprix Media

**CRM** : Conceptual Reference Model

**DMP** : Data Management Plan

**DoA:** Description of Action

**EC** : European Commission

**EDM** : European Data Model

**EEAB** : External Expert Advisory Board

**FAIR** : Findable, Accessible, Interoperable and Reusable

**FLG** : (partner short name) Fundación Lázaro Galdiano

**GA:** Grant Agreement

**H2020** : Horizon 2020

**ICOM** : International Council of Museums

**IPR:** Intellectual Property Rights

**KHM** : (partner short name) Kunst‐historisches Museum Wien

**LIDO** : Lightweight Information Describing Objects

**MBBAA** : (partner short name) Centro Regional de Bellas Artes de Oviedo

**MN** : (partner short name) Moritz Neumüller –

ArteConTacto

**ORDP** : Open Research Data Pilot

**ORO** : Open Research Online

**OU** : (partner short name) The Open University

**SignTime** : (partner short name) Sign Time GmbH

**Tree** : (partner short name) Treelogic Telemática y

Lógica Racional para la Empresa Europea S.L.

**Thyssen** : (partner short name) FundaciónColección Thyssen‐Bornemisza

**UBAH** : (partner short name) University of Bath

**VCS** : Version Control System

**VRVis** : (partner short name) VRVis Zentrum für Virtual Reality und
visualisierung forschungs ‐ GmbH

**V &A ** : (partner short name) Victoria & Albert Museum

**WC** : (partner short name) The Wallace Collection

**WP** : Work Package

#  Introduction

ARCHES [2] (“Accessible Resources for Cultural Heritage Ecosystems”) is a
Horizon 2020 (H2020) project which aims to generate more inclusive
environments at museums and cultural heritage (CH) sites, so that people with
differences and difficulties associated with perception, memory, cognition and
communication can easily access and understand art. To this end, ARCHES brings
together three key aspects: a participative research methodology with the
active involvement of the previously cited target audiences organised in the
so called exploration groups; the re‐use of available digital resources
provided by the partners and external sources; and the development of
innovative technologies that will be implemented and fine‐tuned by the
tech‐partners with the feedback from the exploration groups. As a consequence,
the generation, collection, re‐use and preservation of data is crucial for the
smooth running of ARCHES and needed the collaboration of all the partners
within the consortium: University of Bath (UBAH), The Open University (OU),
Sign Time GmbH (SIGN), Neumüller Moritz – ArteConTacto (MN), Centro Regional
de Bellas Artes de Asturias – Fine Arts Museum of Asturias (MBBAA), Coprix
Media

(Coprix), VRVis Zentrum für Virtual Reality and Visualization Forschungs GmbH
(VRVis), KHMMuseumsverband – Kunsthistorisches Museum Wien (KHM), The Wallace
Collection (WC), Fundación Colección Thyssen Bornemisza – Thyssen Museum
(Thyssen), Fundación Lázaro Galdiano – Lázaro Galdiano Museum (FLG) and
Victoria & Albert Museum (V&A).

This document, the revised version of the ARCHES Data Management Plan,
describes the research data generated and collected during the project, as
well as the data (i.e. the partner museums digital assets) that has been used
throughout the project. The strategy to make data FAIR (findable, accessible,
interoperable and re‐usable) is commented in the following sections.

#  Data summary

##  Purpose

The purpose of the data collection/generation is the support of the ARCHES
technical developments and complementary activities to validate the proposed
solutions in real environments and organise demonstration activities open to
everyone according to the objectives and guidelines defined in the document
Description of Action (DoA). In particular, data collection and generation are
crucial to achieve the following specific objectives:

  * To develop and evaluate strategies which enable an exploration of the value, form and function of mainstream technologies by and for people with differences and difficulties associated with perception, memory, cognition and communication. 

  

  * To develop and evaluate the use of mainstream technologies to enable the inclusion of people with such disabilities as museums visitors and consumers of art. 

  

  * To identify sources – Internet, internal archives, libraries, etc. – that can provide digital cultural resources and take advantage of their possibilities to integrate this content into innovative tools, applications and functionalities. 

  

  * To validate the technological outcomes in operational environments based on a participatory research methodology consisting of three pilot exercises in museums. 

  

  * To promote the tools and applications developed in ARCHES by means of on‐site demonstration activities all around Europe. 

  

Likewise, data collection/generation is in close connection with the tasks
scheduled in the work plan, especially in the context of the technical work
packages – i.e., WP3 “Development of an accessible software platform”, WP4
“Development of applications for handheld devices” and WP5 “On‐site
multisensory activities” – paving the way for the system validation and pilot
exercises in WP6. Therefore, the DMP will be a living document where new
datasets may be incorporated at any time all along the lifespan of the project
following the principles of FAIR data.

##  Types and formats

ARCHES will handle different types and formats of data according to the
multiple research areas and technical developments. In principle, these are
grouped into four categories:

  * **Multimedia research data** : A combination of sound, images, video and text components to represent the works of art in different ways and support the integration of digital surrogates into the web and mobile applications as well as the generation of complementary resources and tools. Photographs, 3D models, sketches, interactive guides, avatars and serious games are also considered within this category. 

  

  * **Metadata** : Data associated to the multimedia content used to better describe and understand each of the works of art. This includes information about the author, style, period and other details regarding the history and characteristics of the paintings, sculptures and other CH assets. Subtitles are other form of metadata that will be generated together with the videos to become accessible to people with hearing difficulties. 

  

  * **User data** : Based on the findings in WP3 and WP4 no user data is collected in the platform or apps. This also better complies with GDPR and ensures the privacy of the users. The access preferences of the users are just saved on the users device for usability purposes and are not sent to any server. 

  

  * **Exploration data** : Data generated for/by the exploration groups regarding their involvement in the project, from the recruitment phase in the UK, Spain and Austria to the interaction with the research teams to provide feedback on the methodology, activities and technologies. Therefore, information sheets, consent forms and multiple materials to assess the outcomes and allow expressing opinions and feelings – e.g. surveys, questionnaires, interviews, etc. – were generated, stored and preserved under this category. 

  

The above information is summarised in Table 1 with the most common formats
employed by the partners when managing these datasets. We will decide the ones
that fit best, depending on the input sources and the applications. This will
also be aligned with the definition of system requirements and architecture in
the deliverables D3.1 and D4.1.

**Table 1: Types and formats of data generated/collected.**  
  
<table>  
<tr>  
<th>

</th>  
<th>

**Type of data**

</th>  
<th>

**Description**

</th>  
<th>

**Formats**

</th> </tr>  
<tr>  
<td>

**1**

</td>  
<td>

**Multimedia research data**

</td>  
<td>

Image

</td>  
<td>

JPG, PNG, TIF, GIF, BMP

</td> </tr>  
<tr>  
<td>

High‐resolution photograph

</td>  
<td>

TIF, PNG, RAW

</td> </tr>  
<tr>  
<td>

3D model (where applicable)

</td>  
<td>

PLY, DXF,

COLLADA, STL,

OBJ, PDF, U3D, FBX

</td> </tr>  
<tr>  
<td>

Audio and video

</td>  
<td>

MP3, MP4, MOV,

AVI, WMV, MPG, MPEG, 3GP

</td> </tr>  
<tr>  
<td>

**2**

</td>  
<td>

**Metadata**

</td>  
<td>

Subtitles, captions

</td>  
<td>

SRT, VTT, QT

</td> </tr>  
<tr>  
<td>

Metadata

</td>  
<td>

JSON, plain text

</td> </tr>  
<tr>  
<td>

**3**

</td>  
<td>

**User data**

</td>  
<td>

None

</td>  
<td>

</td> </tr>  
<tr>  
<td>

**4**

</td>  
<td>

**Exploration data**

</td>  
<td>

Information sheet

</td>  
<td>

DOC, DOCX, PDF

</td> </tr>  
<tr>  
<td>

Informed consent

</td>  
<td>

DOC, DOCX, PDF

</td> </tr>  
<tr>  
<td>

Feedback

</td>  
<td>

DOC, DOCX, XLS,

XLSX, PDF, JPG,

PNG, MP4, 3GP

</td> </tr> </table>

##  Origin

We identify four different origins for the data collected/generated in ARCHES:

  * **Consortium partners** : Information and digital CH assets mainly gathered by the six participating museums, i.e., MBBAA, KHM, WC, Thyssen, FLG and V&A, so as to present them to the exploration groups in Spain, Austria and the UK. This data will be obtained from their digital archives, guides, library, etc. and exploited by means of state of the art technologies – e.g. augmented reality, avatars, relief printers and models, context‐sensitive tactile audio guides and advanced image processing techniques. 

  

ARCHES acquired new image (photographs, models, drawings) and video datasets
(e.g. when enough documentation was not available or the development of
accessible resources required additional multimedia content) that could be
used in the project. In these cases, image and video datasets were produced at
the participating museums using the most common file formats. Text files
relating to information about museum objects and images were generated in
formats such as DOC, PDF or TXT, although it may have been processed and
converted to other schemes.

  * **Exploration groups** : ARCHES created new data based on the regular activities of the exploration groups prepared for them at the six ARCHES museums. It informed how the platforms, apps and activities were designed and developed with the purpose of improving their functionalities and accessibility. Qualitative and quantitative data resulting from diverse methods – e.g. interviews and discussions with participants, along with direct observation – was collected in audio, video and written formats taking the differences and difficulties of the individuals into account as done with the consent forms. 

  

  * **External sources** : Repositories of CH assets of several institutions – such as Europeana [3], DBpedia [4] and the Rijksmuseum [5] – that publicly and freely release digital content on the Internet, useful to test the functionalities of the new tools and complement the online experience. Images, videos, audio and metadata were collected through the corresponding Application Programming Interfaces (API). The list of CH institutions continuously grew in parallel with the organisation of the sessions where the exploration groups evaluate the types of contents to be included in the platform and applications according to their needs and expectations. In the final platform data collected and combined by the Museums themselves was used in order to ensure completeness and quality. 

  

##  Re‐use

As stated in the DoA and described in the previous sections, a significant
part of the research data consisted of existing data coming from museums, CH
sites and other related sources to be used for the development of technology
such as apps, websites and sensory activities (e.g. 3D reliefs). This is
clearly aligned with the expected impacts listed in the work programme under
the topic Reflective‐6‐2015 [6], where promoting “the use of digital cultural
heritage allowing its reinterpretation towards the development of a new shared
culture in Europe” and exploiting “the rich and diverse European digital
cultural heritage in a sustainable way” are two of the cornerstones.

On the one hand, ARCHES re‐used data already stored on the Central Management
Server (CMS) of each of the partner museums. For example, in case of the WC,
this is MuseumPlus and eMuseumPlus. Therefore, there was no problem in
providing specific digital resources to the technological developers once
these are selected by the exploration groups with the support of OU, UBAH as
well as the educators and experts working in the museums. This enabled the
generation of tactile images among others. In addition, some images and
complementary information was directly retrieved from the public websites, in
particular when referring to masterpieces:

  * MBBAA: _http://www.museobbaa.com/en/collection/permanent‐collection/_

  

  * KHM: _https://www.google.com/culturalinstitute/beta/partner/kunsthistorisches‐museumvienna‐museum‐of‐fine‐arts?hl=en_

  

  * WC: _http://wallacelive.wallacecollection.org/eMuseumPlus_

  

  * Thyssen: _https://www.museothyssen.org/coleccion_

  

  * FLG: _http://www.flg.es/museo/la‐coleccion/bases‐de‐datos_

  

  * V&A: _https://www.vam.ac.uk/collections_

  

On the other hand, different options were considered to collect and re‐use
already‐existing digital CH resources, making use of the APIs released by the
multiple institutions as pointed out in the previous section. These APIs
provide direct access to a great deal of artworks in several formats, from
images to 3D models together with videos, text and audio tracks. Europeana [3]
– MBBAA, KHM, Thyssen and FLG are Europeana contributors – the Rijksmuseum [5]
and the Finnish National Gallery [7] were explored during the initial phase.
Furthermore portals like Google Arts and Culture [8] – part of the KHM,
Thyssen, FLG and V&A collections can be found here – WikiArt (The Visual Art
Encyclopaedia) [9] or DBpedia [4] also make digitization of paintings, 3D
objects and associated metadata available to the general public.

The consortium paid special attention to Intellectual Property Rights (IPRs)
regarding data re‐use from external and internal sources. We respected the
terms and conditions described on the corresponding websites and/or the
copyright licenses under Creative Commons [10]. Similarly, neither the WC nor
the V&A will allow their digital assets to be re‐used for commercial purposes
and, specifically, the WC will not allow any re‐use of the assets by third
parties for any reason without permission. The other participating museums in
Spain and Austria allowed the sharing of the artworks that were selected by
the exploration groups.

After the takeover of the app and platform development by SIGN from TREE, the
data for the apps and platform was collected by use of a management backend,
developed as part of WP3 and stored on the server of SIGN.

##  Expected size

Multiple factors were taken into account to estimate the size of the data.
Based on the types identified in section 2.2, we expect multimedia research
data to represent the highest percentage of storage needs. Format, resolution,
size, length and other variables were analysed throughout the duration of
ARCHES to ensure that the hardware resources are enough to store and preserve
data, especially when the platform and apps become public and new institutions
are sought to share their contents.

Some examples of data provided by the participating museums can be found in
Table 2. Although metadata did not require much space, images (especially
those employed to design 3D reliefs) are in high resolution for accurate
results, ranging between 5 and 100 MB each. Likewise, data related to the
generation of tactile reliefs can vary from many MB to several GB. In
addition, the consortium was analysing the reproduction of 3D models with
different materials, colours and dimensions taking advantage of existing or
new scans. Depending on the method, the size was several GB and up to TB.

**Table 2: Examples of data provided by the museums.**  
  
<table>  
<tr>  
<th>

</th>  
<th>

**Painting**

</th>  
<th>

**3D object**

</th>  
<th>

**Fabric**

</th> </tr>  
<tr>  
<td>

**Title**

</td>  
<td>

Madame de Pompadour

</td>  
<td>

Celadon dish

</td>  
<td>

Strawberry thief

</td> </tr>  
<tr>  
<td>

**Photo**

</td>  
<td>

</td>  
<td>

</td>  
<td>

</td> </tr>  
<tr>  
<td>

**Place of origin**

</td>  
<td>

Paris (France)

</td>  
<td>

Zheijiang (China)

</td>  
<td>

London (UK)

</td> </tr>  
<tr>  
<td>

**Date**

</td>  
<td>

1758

</td>  
<td>

14  th  century

</td>  
<td>

1883

</td> </tr>  
<tr>  
<td>

**Artist/maker**

</td>  
<td>

François Boucher

</td>  
<td>

Unknown

</td>  
<td>

William Morris / Morris & Co.

</td> </tr>  
<tr>  
<td>

**Materials/techniques**

</td>  
<td>

Oil on canvas

</td>  
<td>

Stoneware, glazed

</td>  
<td>

Indigo‐discharged and block‐printed cotton

</td> </tr>  
<tr>  
<td>

**Credit Line**

</td>  
<td>

Bequeathed by John Jones

</td>  
<td>

Bequeathed by Mr Arthur Hurst

</td>  
<td>

Given by Morris & Co.

</td> </tr>  
<tr>  
<td>

**Museum No.**

</td>  
<td>

487‐1882

</td>  
<td>

C.1‐1940

</td>  
<td>

T.586‐1919

</td> </tr>  
<tr>  
<td>

**Gallery location**

</td>  
<td>

Europe 1600‐1815 (Room 3)

</td>  
<td>

Ceramics galleries (Room 145)

</td>  
<td>

British galleries (Room 125)

</td> </tr>  
<tr>  
<td>

**Description**

</td>  
<td>

Madame de Pompadour was the official mistress of King Louis XV. She

was also an influential

patron of the arts and a leader of taste. S

devoted supporter of

the Sèvres porcelain factory and keen

collector of Japanese

lacquer, she furnished

her residences with fine

furniture and porcelain.

[…]

</td>  
<td>

Green‐glazed stonewares from

Zhejiang were the most common type of

Chinese ceramics exported to the Middle

East before 1400. This dish was thrown and carved before being given a thick
green

'celadon' glaze, which has pooled in the

incised decoration and carved fluting. […]

</td>  
<td>

Morris was inspired to draw this design after finding thrushes

stealing fruit in his garden. This

complicated and

colourful pattern is

printed by the indigo

discharge method and took a long time to

produce. Consequently, it was expensive to buy.

[…]

</td> </tr>  
<tr>  
<td>

**Other**

</td>  
<td>

</td>  
<td>

Audio description available:

_http://bit.ly/2nRAfmM_

</td>  
<td>

</td> </tr> </table>

Because exploration data did mainly consist of written documents as well as
photographs and videos usually taken with a smartphone, they only account for
several GB.

##  Utility

Collected/generated data will be useful for different target audiences:

  * **People with differences and difficulties associated with perception, memory, cognition and communication** : Co‐creation is a crucial concept in ARCHES where end users are continuously involved in the value chain from the very beginning. Multimedia research data and multisensory activities allowed them to explore new forms of interaction with CH resources through the Internet and/or at the museum. Metadata was a good support to multimedia content so as to make the available information accessible to all. Besides, in addressing the combination of state of the art technologies and digital CH assets, the exploitation and re‐use of data built bridges not only between cultures but also between the heritage communication and a historically silenced audience, traditionally sidelined by mainstream cultural and intellectual activity. Papers and handouts/prints were also used, in order to make the workshops tactile and interactive. 

  

  * **Researchers** : Social researchers took advantage of the documents to obtain feedback from the participants as well as information sheets and consent forms for people with learning difficulties and sensory impairments. It facilitated communication and paved the way to replicate the approach and methodology in other contexts, especially in the field of education. From a technological perspective, high‐resolution photographs, 3D scans and other datasets were of interest to design new functionalities and applications in the field of CH. 

  

  * **Museums** : The multimedia research data, exploration data and multisensory activities allowed museums to define more inclusive strategies in the future building on top of the ARCHES results. Moreover, the generated material may be employed for other purposes, such as marketing and preservation, attracting new audiences to the facilities. Likewise, the generated digital content may be integrated in their own websites and other networks to boost dissemination and the reuse of these surrogates. 

  

  * **General public** : Although specifically designed for the aforementioned target groups, access to multimedia data through the online platform and smartphone applications are granted to all end users on a free basis. In addition, the outputs will be available at the participating museums at least during the open days to be organised at the end of the project. 

  

#  FAIR data

This section deals with four key aspects within the DMP, i.e., findable,
accessible, interoperable and reusable data.

##  Making data findable, including provisions for metadata

The collection and generation of consistent and accurate metadata
significantly contribute to the improvement of data search and the
identification of digital resources. In this particular context where CH
assets are the main concern, metadata facilitates the finding of similar
content across different online collections and repositories, such as the
external sources cited in the previous sections. In order to ensure that
interoperability among different approaches and structures, the adoption of a
common standard was intended. Therefore, the consortium analysed the schemas
used by the participating museums as well as the most relevant actors in the
CH field.

The implementation of a metadata scheme was based on the requirements of the
participating museums and the research groups in order to ensure high
usability and full accessibility.

Likewise, the consortium defined a unique identifier for each of the digital
resources to facilitate the handling of videos, images, etc. among
professionals. The methodology enabled the storage and preservation of, for
example, multiple photographs of the same artwork keeping their connection for
further re‐use, studies and cross search.

For data that requires versioning, the consortium took advantage of Version
Control Systems (VCS). For example, the source code was maintained in GIT
repositories. Furthermore, the documents were also versioned in repositories
during design and authoring.

##  Making data openly accessible

The ARCHES project proposes a general strategy to make data openly accessible.
Through the platform, apps and multisensory activities the multimedia content
is openly available.

Regarding the exploration data, when it does not rise ethical and privacy
issues, the consortium benefits from the available platform Open Research
Online (ORO) [11], the OU’s repository of research publications and other
research outputs. ORO is an open access resource that can be searched and
browsed freely by the general public.

Open access to the content of the repositories is subjected to IPRs. As a
consequence, each partner carefully assessed on a case‐by‐case basis which
results – and to what extent – were made public. In particular, museum data
was retained by the project partners in accordance to the Grant Agreement (GA)
and Consortium Agreement (CA). For example, WC digital assets, such as
high‐resolution images, cannot be made openly available to third parties
without permission. On the contrary, other WC digital assets, such as
low‐resolution images and video content is already publicly available online
on different websites [12], [13] and can be used by third parties for
non‐commercial purposes. Similarly, V&A digital assets are openly available to
third parties for non‐commercial purposes. The other participating museums
decided on the strategy ‐ with respect to making data openly accessible ‐ once
the digital CH assets to be included in the solutions were selected in the
exploration sessions.

Technology developers evaluated the outputs and intermediate results that
became public since most developments contain traces of copyrighted material
(e.g. use of high‐resolution photographs) and, thus, developers do not have
the full copyright on the derivative outputs.

In the context of communication and dissemination actions, different
activities were planned to achieve the maximum impact from the outset by
taking advantage of the generated data. These are described in deliverable
D7.2 “Communication plan, activities and publications – 1  st  version” and
include a dedicated website [2] – where reports about research and
technological results that are part of the public deliverables are available –
social networks, mass media, networking in different events, etc. Moreover,
the consortium encourages publication in open access journals and the adoption
of green or gold models for open access. Again, ORO was used to this end as
well as the website.

##  Making data interoperable

The use of the most common and standardised formats for each of the data types
(see Table 1) is the first step to make data interoperable with other systems
and for professionals in other disciplines. Free online converters can be
found browsing the web to easily obtain a compatible file.

Regarding the vocabularies and ontologies, ARCHES proceeded as outlined in
section 3.1, i.e. analysing the schemas and methodologies used by the
participating museums and other partners with the purpose of developing a
joint strategy to ensure interoperability among their systems. The following
paragraphs describe some popular schemas and how they are connected to provide
data openly.

The Conceptual Reference Model (CRM) [14] developed by the International
Committee of Documentation (CIDOC) of the International Council of Museums
(ICOM) is a well‐known and extensively used semantic model based on earlier
standards. CIDOC‐CRM establishes relationships among implicit and explicit
concepts for CH documentation to transform isolated and inhomogeneous metadata
into a valuable and coherent global resource. CRMdig [15] has extended
CIDOC‐CRM in the framework of the 3D‐Coform project [16].

The Lightweight Information Describing Objects (LIDO) is an XML harvesting
scheme intended to act as a gateway and provider of museum object metadata to
online databases and repositories. Therefore, it does not replace CIDOC‐CRM
but builds on top of this and other data schemas. The strength of LIDO lies in
“its ability to support the full range of descriptive information about museum
objects” [17].

The Europeana Data Model (EDM) used by the Europeana network [3] aims to
guarantee the preservation of the original data from the diverse metadata
schemas, while accommodating the rich variety of community standards for
museums, archives and digital libraries. In particular, LIDO is one of the
standard intermediary schemas that can be mapped to EDM in a straightforward
manner. The EDM class hierarchy is presented in Figure 1.

**Figure 1: EDM class hierarchy [18].**

##  Increase data re‐use

ARCHES is committed to the exploitation and sharing of the outcomes generated
(knowledge, technologies, data, etc.) in the framework of the activities
defined in the work plan. Free applications, public deliverables, open
publications and reports or access to research data are indicative of this
commitment. However, all the aspects related to IPR were thoroughly assessed
for each result and addressed according to the clauses of both the GA and the
CA and considering the particular interests and policies of each of the
partners. Data re‐use is not an exception.

The platform and smartphone applications can be used as they are after the end
of the project. Updates and support will depend on the decision of the museums
to invest in further content. The technical development, if viable, will
follow the plan developed in WP7.

Because multimedia research data and metadata are mostly related to the
digital CH assets owned by the six museums, the re‐use by third parties will
be subjected to their particular business strategies. Data will be licensed
following the same principles each museum apply to its digital collection
available on the Internet through its website, Google Art, Europeana and other
means all along the execution and after the completion of ARCHES. Outputs
derived from the use of digital CH assets will also be released/protected
accordingly in agreement with the technical developers (if any) involved. To
this end, access to datasets in our repositories may be conditioned to the
registration of the researchers and entities willing to take advantage of this
content. In order to obtain the necessary rights, they will be asked to get in
contect. If approved by the consortium, access will be granted.

Some designs – such as the relief printer – and tools will not be released
since the owner will apply for a patent. Making the data public and allowing
its re‐use would be a violation that would invalidate the process. Therefore,
an embargo period is foreseen in this particular situation.

The consortium jointly worked towards the achievement of the maximum quality
of the results that were tested by the exploration groups in the museums.

#  Allocation of resources

The estimated costs for making data FAIR were already considered when drafting
the budget for the project before being submitted to the European Commission.
The implementation of dedicated spaces in data repositories was deemed to be
an important part of the approach as well as the access to the collected and
generated data. Consequently, the consortium does not need to make any
distinction or to consider additional resources to fulfil the expectations in
this regard.

Depending on the repository, there will be different people responsible for
the storage, access and curation of data:

  * The contributions of ARCHES to the ORO repository of the OU are managed by the Research Manager Prof Jonathan Rix (OU). 

  

  * The multimedia/metadata repository for the interaction with the online platform and applications for handheld devices are managed by Christoph Aschberger (SIGN). 

  

  * Intermediate and final data to generate 3D reliefs, 3D printer design and tactile audio guide are managed by Mr Andreas Reichinger (VRVis). 

  

#  Data security

All data was kept in compliance with the “Data protection act” (1998) [19],
the “Freedom of information act” (2000) [20] and the “General Data Protection
Regulation” (GDPR) 2018 [24]. Research notes and visual records along with
interview material and transcripts will be kept in secure conditions. ARCHES
is registered with the Faculty of Data Protection Officer at OU. Therefore,
any personal information will be kept on an OU secure server.

  * OU aims to keep collected datasets resulting from the participation of the exploration groups in the pilot exercises and validation separated from personal identity information. Any key linking codes to identity information such as names, addressed and telephone numbers were kept secure and separate from the dataset accessible only to the investigators. This, however, was not always acceptable to the exploration groups and the methods they chose to develop. Consequently, partners were flexible in balancing their needs for privacy with the needs for representation. This is a key aspect of the research approach being adopted. The methodology was submitted to the Open University Data Protection Officer and was recorded on 23  rd  December 2016\. 

  

  * SIGN dealt with different types of data. Regarding the infrastructure for multimedia research data and metadata storage, backups will be made on a daily basis following the company’s policy. Access to these backups will were restricted to the persons working in the project. The data was stored inside the EU on servers in Frankfurt, Germany and backups in Vienna, Austria. 

  

  * Although most data generated for the multisensory activities is intended to be used only by the developers, VRVis has a reserved space on a secure data server in its facility, which only members of VRVis can access. An easily browse‐able folder hierarchy is used: Each museum and each object has its own main directory. There, VRVis collects all input data and data generated during the project. VRVis is not recording or storing any personalized data. 

  

#  Ethical aspects

The research carried out in ARCHES adheres to the “Ethical guidelines for
educational research” [21] edited by the British Educational Research
Association (BERA) and the “GDPR” (2018) [24]. It also followed the OU policy
documents “Ethical principles for research involving human participants” and
“The code of practice for research and those conducting research”. The OU
insisted that all explorations groups operate under these guidelines as well
as any local or national policies which are relevant. In fact, the research
protocol for the ARCHES project already received a favourable opinion by the
Open University Human Research Ethics Committee.

Given the possible vulnerable nature of the participants in the exploration
groups, the consortium recognised the need to be sensitive to several key
aspects when referring to data management and how participants get involved in
the pilots and validation (e.g. information sheets and information consents),
collaborate (e.g. access to data and audio visual content generation) and
provide feedback (e.g. surveys and questionnaires):

  * The need to be constantly alert to the potential breaches of confidentiality between exploration group members. 

  

  * Consent as an ongoing, unfolding process, particularly in relation to people with learning difficulties. This is particularly relevant given that the project is endeavouring to give these participants a research voice. 

  

  * The need to balance our desire to gather data. Our presence as observers to practices rooted in everyday relationships elsewhere means we will engage in discussion with relevant management or services at the earliest opportunity if we have evidence for practices, which cause us concern about individual well‐being. 

  

  * Issues with privacy in relation to subsequent use of data beyond the initial confines of the exploration groups. We regard images and other audiovisual footage as the property of the individual. If subsequently we used any material, we needed to seek further specific permission. 

  

WP8 “Ethics requirements” focused on the activities tackling ethics in
relation to the exploration groups. The university research teams (OU and
UBAH) have considerable personal expertise within the field of ethics, but
this was reinforced by the presence of an independent, international ethical
specialist on the External Expert Advisory Board (EEAB). The work package was
executed throughout the duration of the project to ensure the informed,
consensual and secure involvement of people with intellectual and sensory
impairments. In this context, the key objectives were:

  * Develop a range of mechanisms to inform participants about the project and to assure we are working with their consent throughout. 

  

  * Maintain ethical standards in a manner and form appropriate to that laid out by national and institutional documents and committees. 

  

  * Operate with key participatory principles, agreed with the exploration groups that underpin research practices and relationships throughout the project. 

  

  * Ensure all participants understand the importance of rigorously applying these ethical principles. 

  

In order to achieve these objectives, ARCHES was organised and managed in line
with principles of participation, consent, security and privacy. The main
aspects connected with the DMP are outlined in the following subsections (and
the full version can be found in the DoA).

##  Principles of participation

  * ARCHES is enabling the research voice of the members of the exploration groups. 

  

  * ARCHES must ensure the members of the exploration groups are active, recognised and willing participants. 

  

  * Individual members of the exploration groups will join the project on a volunteer basis and will be able to leave whenever they so wish. 

  

  * Data collection methods will also be developed in collaboration with the exploration group so they can best identify, capture and record their experiences and views. 

  

  * Diverse forms of communication must be used to engage with authentic user perspectives and the diverse forms of evidence that this produces must be valued and treated as significant markers of certainty. 

  

  * Reports will be provided twice a year to the EEAB on ethical issues, in relation to principles of participation, consent, security and privacy. 

  

##  Principles of consent

  * Consent and assent is an ongoing, unfolding process, to which the research teams need to be alert at all times. It will be demonstrated by engagement as well as through verbal or signed agreement. 

  

  * Consent will be made via the communication medium in which the person is most adept (verbal and/or augmented communication), and recorded with the person’s initials (or alternative if necessary), witnessed by an advocate. 

  

  * The prospective members of the exploration groups need to meet the researchers before the project begins. Informed consent will be sought following this meeting. Agreement to participate will be viewed as provisional consent. 

  

  * Consent is provisional upon the research being conducted within the outlined framework, continuing to develop within participant expectations, and there being no adverse change in the person’s ability to give consent. 

  

  * Participants will be encouraged to share information with people they trust, who in turn will be encouraged to ask questions. 

  

  * Consent and assent materials must be accessible to people with the range of sensory and intellectual impairments, to ensure all participants are consensually involved in the project. 

  

  * Information will be given verbally, supported by sign/symbols/illustrations and repeated on more than one occasion. 

  

  * Supporters and other professionals involved must give their informed consent to participate using the agreement form, which will be completed prior to any data collection taking place. 

  

##  Principles of security

  * There is a need to be constantly alert to the potential for breaches of confidentiality and trust between exploration group members, impacting upon personal and collective well‐being. 

  

  * Written records or audio recordings of consent will be maintained and updated as appropriate when new members join or if additional consents are sought. 

  

  * The UK researchers will hold appropriate Disclosure and Barring certificates. 

  

##  Principles of privacy

  * Research notes and visual records along with interview material and transcripts will be kept in secure conditions. 

  

  * The project will be registered with the Open University Faculty Data Protection Officer. 

  

  * Images and other audio visual footage are property of the individual. Each individual will be informed in person of the possible use of photography and other data collection methods as part of ARCHES research sessions. If subsequently we wish to use any material, we will need to seek further specific permission. 

  

The aspects described in section 5 will also be taken into account in this
field.

##  Deliverables

  * Full ethical clearance for the collection of personal data from the appropriate committee at the participating universities was acquired prior to the end of the third month of the project, involving oversight of all consent materials. This was reflected in deliverable D8.2 “POPD – Requirement No. 3”. 

  

  * A range of accessible consent material in English (see Annex A) was developed by the end of the second month of the project in deliverable D8.3 “POPD – H – Requirement No. 4”. Versions in Spanish and German will be available two months prior to the start of the research groups in Spain and Austria. 

  

  * All participants were provided with an accessible letter (see Annex A) and access to an online video – one version for British Sign Language (BSL) speakers [22] and other version for the general public – explaining the research process and offering and opt‐out option [23]. 

  

  * Detailed information on the informed consent procedures implemented were provided in deliverable D8.1 “H – Requirement No. 2”. 

  

#  Conclusions

In this deliverable the strategy to deal with data collection, generation,
management and exploitation has been described.

The section dealing with the data summary presented the purpose, types and
formats, re‐use, origin, expected size and utility of the data collected and
generated in ARCHES. Different categories were defined based on the diverse
characteristics and needs of the project, involving the consortium partners as
well as external sources.

The approach to make data findable, accessible, interoperable and re‐usable
was described in the corresponding section, where the use of a common data
scheme to facilitate searches among different collections and the
implementation of a platform to favour interoperability among different
systems were commented.

No extra resources were allocated for the actions described in the DMP since
they fall within the common activities of the partners in charge of data
management. Similarly, the security measures adopted for the ARCHES project
were aligned with their own policies in this field – in particular, OU has
submitted its plan to The Open University Data Protection Officer. However,
this does not prevent from considering complementary measures if sensitive
data is handled.

Ethical aspects were monitored in the framework of WP8 “Ethics requirements”.
The information sheets and informed consents provided in Annex A were
translated into Spanish and German before the exploration groups in these
countries are built and following the same principles detailed in section 6
and applied for the first exploration group in the UK. The proposed protocol
has already received the confirmation from The Open University Ethics
Committee.