JTS 2010 Presentation 'Audiovisual Heritage and Participatory Culture"


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As the Web gets more “social” and as museums, libraries and archives are beginning to offer online access to digital representations of their collections, users and institutions are beginning to inhabit the same, shared information space. This is an exciting prospect, as we are now witnessing new paradigms for engaging users with our shared heritage. 'Netizens' (people actively involved in online communities) are using technological advances, offered by cultural heritage institutions, publishers and other commercial entities, as well as objects from a great variety of sources to shape this information space. The new paradigms imply, in many cases, the need for profound change in institutional practice. For instance, using the power of the Social Web to enrich the knowledge about our shared heritage. As a result, republication and the reuse of heritage will be enhanced, and thus its value is increased.

This presentation focusses on:
- www.openimages.eu
- www.waisda.nl

Published in: Technology

JTS 2010 Presentation 'Audiovisual Heritage and Participatory Culture"

  1. 1.  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
  2. 2. 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)  
  3. 3. 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  -­‐    
  4. 4. Increased use of archive JTS  2007  
  5. 5. 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)
  6. 6. 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  
  7. 7. "if  it  doesn't  spread,  it  is   dead"  (Jenkins,  2009)  
  8. 8. Item view
  9. 9. www.openimages.eu •  Open media platform for online access to audiovisual archive material, available for free (creative) reuse •  Contributers include:
  10. 10. 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)
  11. 11. Licence •  CC-BY-SA as preferred license •  3,000 items from our ‘own’ collection •  ‘Internet quality’
  12. 12. Open  Images   Rights  owned  by   Sound  and   Vision   DigiQsed  items   Sound  and   Vision  collecQon  
  13. 13. Mobile application CMS   www   iPhone  App   Physical  space  
  14. 14. geodata   descrip?ons   pages   photo’s   video’s   www   geotags   Physical  space   photo’s   comments  
  15. 15. Exploring  Europe’s  Television  Heritage  in   Changing  Contexts  
  16. 16. “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)  
  17. 17. 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
  18. 18. ESP Game and steve.museum
  19. 19. 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)
  20. 20. •  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
  21. 21. 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  
  22. 22. 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
  23. 23. 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  
  24. 24. 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.
  25. 25. Future: Semantic Tagging
  26. 26. •  twitter: johanoomen •  joomen@beeldengeluid.nl Promote  the  use  of  television  content  to  explore   Europe's  rich  and  diverse  cultural  history.