JTS 2010 Presentation 'Audiovisual Heritage and Participatory Culture"

Joint Technical Symposium 2010, Oslo, Norway, May 2-‐5, 2010 DIGITAL CHALLENGES AND DIGITAL OPPORTUNITIES IN AUDIOVISUAL ARCHIVING Audiovisual Heritage and Participatory Culture Johan Oomen Sound and Vision / Vrije Universiteit Amsterdam

Experiences “Without ..long-‐term planning, digiQzaQon projects can come to behave like black holes in the sky.” Image: Nathan Shedroﬀ Strategies for Sustainable PreservaQon of Born Digital Public Television (Preserving Digital Public Television Project)

Context "public reuse produces a kind of value that doesn’t just come from publication. It comes from republication and reuse" (Shirky, 2009) -‐ preservaQon, digiQzaQon and provision of access to 137.200 hours of video, 22.510 hours of ﬁlm, 123.900 hours of audio, and 2.9 million photos -‐

Increased use of archive JTS 2007

5 rules for museum content •  1. Discoverable – it is where I am and where I look for it. •  2. Meaningful – I can understand it. •  3. Responsive – to my interests, moods, location. •  4. Useable/Shareable – I can pass it on and share. •  5. Available in all three locations – online, onsite and offsite. (Seb Chan, 2009)

Digital Archive Digital Born Digi,sing Legacy Material 15.000 hours of video Images for the Future 40.000 hours of radio >250.000 hrs of audio and video content content (import) (encoding) Asset management metadata metadata (import) (conversions) Broadcast Public Web Acces ExhibiQons EducaQon User generated Professional content and metadata

"if it doesn't spread, it is dead" (Jenkins, 2009)

Item view

www.openimages.eu •  Open media platform for online access to audiovisual archive material, available for free (creative) reuse •  Contributers include:

Open, open, open •  Open source media platform (MMBase) •  Use of and open video codec (Ogg Theora) •  Use of the HTML5 <video> tag •  Use of an open API (OAI-PMH, Atom feeds)

Licence •  CC-BY-SA as preferred license •  3,000 items from our ‘own’ collection •  ‘Internet quality’

Open Images Rights owned by Sound and Vision DigiQsed items Sound and Vision collecQon

Mobile application CMS www iPhone App Physical space

geodata descrip?ons pages photo’s video’s www geotags Physical space photo’s comments

Exploring Europe’s Television Heritage in Changing Contexts

“In the end, the crowd sQll rules. To be smart at the top, the system has to be smart all the way through.” (Surowiecki , 2004)

www.waisda.nl •  Inspired by the work of Luis von Ahn (among others) •  The goal of the game is consensus between players (which also works as ﬁlter) •  Fun and competition as motivation •  Almost 600 hours of material / 2.400+ items

ESP Game and steve.museum

Why? 1.  Bridging the semantic gap 2.  Add more (+ ﬁne grained) knowledge •  Time-related metadata (inter-video search) 3.  Role in workprocesses of the future 4.  Interaction between the archive /broadcaster and the public •  160k people are volunteering in CH in the Netherlands (win-win)

•  Basic rule – players score points when their tag exactly matches the tag entered by another player within 10 seconds •  Multiple other scoring mechanisms to create various tag incentives

Traffic •  Generating a constant flow of traffic is a challenge! Strong partners and links to Waisda? on external websites proved important. •  Example: in October 2009: great boost through Farmer wants a Wife website In one week: •  Number of tags tripled to 160.000 •  Number of registered players doubled to 362

Results (evaluation May-November 2009) •  Since the launch in May 2009: •  44,362 pageviews •  12,279 visits (3+ min online) •  555 registered players (but thousands of anonymous players!) •  340,551 tags added to 602 items •  42,068 unique tags

Results (cont.) Matches Waisda? Matches GTAA & Corneio (= 42,068 unique tags have matches) (= 14,493) 1/3 of all words are a valid Dutch word

Tag evaluation by documentalists •  Farmer wants a Wife, Westerman’s New World •  Tags describe mainly short segments, and are often not very specific. Tags do often not describe programmes as a whole. •  BUT! Can be solved by applying ontology alignment. •  The WNW tags were most useful and specific: content of a programme influences tags specificity.

Future: Semantic Tagging

•  twitter: johanoomen •  joomen@beeldengeluid.nl Promote the use of television content to explore Europe's rich and diverse cultural history.

http://www.slideshare.net	12
http://archiv.twoday.net	8
http://www.euscreen.eu	6
http://www.lmodules.com	1

JTS 2010 Presentation 'Audiovisual Heritage and Participatory Culture"

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JTS 2010 Presentation ’Audiovisual Heritage and Participatory Culture" Presentation Transcript