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Heritage crowd oct 5 2011 cuag

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Slides to accompany Oct 5 talk at the Carleton University Art Gallery on the HeritageCrowd project (http://heritagecrowd.org); case study is available at http://writinghistory.trincoll.edu/crowdsourcing/heritagecrowd-project-graham-massie-feuerherm/

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Heritage crowd oct 5 2011 cuag

  1. 1. Crowdsourcing History<br />The HeritageCrowd Project<br />Guy Massie,<br />Nadine Feuerherm<br />Shawn Graham<br />Department of History,<br />Carleton University<br />
  2. 2. Crowdsourcing, eh?<br />Harrison & His Clocks http://www.nmm.ac.uk/harrison<br />
  3. 3. Examples from Science<br />
  4. 4. Examples from Museums<br />
  5. 5. Examples from History<br />
  6. 6. And sometimes, given a space, it self-organizes...<br />Myth of the Black Confederate Soldier<br />Blogosphere vs. Ancestry.com<br />(Leslie Madsen-Brooks, “‘I nevertheless am a historian”: Digital Historical Practice and Malpractice around Black Confederate Soldiers” Writing History in the Digital Age – going live tomorrow!<br />
  7. 7. Who is the Crowd?<br />Depends on the project<br />Wikipedia:<br />87% Men, 13% women<br />23% with degrees<br />26% are undergrads<br />45% secondary level or less<br />(survey of 58 000 self selected ‘wikipedians’, UNU, Collaborative Creativity Group http://www.wikipediastudy.org/) <br />
  8. 8. Our Crowd: Pontiac & Renfrew Counties<br />
  9. 9. Why Digitally Crowdsourced History?<br />
  10. 10. Why Digitally Crowdsourced History?<br />An outlet for those who wish to share historical narratives<br />
  11. 11. Why Digitally Crowdsourced History?<br />An outlet for those who wish to share historical narratives<br />Collecting an abundance of perspectives, or the aesthetics of the cracked mirror<br />
  12. 12. Why Digitally Crowdsourced History?<br />An outlet for those who wish to share historical narratives<br />Collecting an abundance of perspectives, or the aesthetics of the cracked mirror<br />Local community consciousness<br />
  13. 13. So what is HeritageCrowd then?<br />Ushahidi.com<br />Omeka.com<br />
  14. 14. Ushahidi<br />
  15. 15. Omeka<br />
  16. 16. Our ‘ideal’ data flow<br />SMS image from http://commons.wikimedia.org/wiki/File:SMS_test.jpg<br />Telephone operator, By Deasington, http://commons.wikimedia.org/wiki/File:Telephone_girl.JPG<br />
  17. 17. Results from HeritageCrowdSummer Phase<br />Number of daily submissions received over time<br />
  18. 18. Results from HeritageCrowdSummer Phase<br />
  19. 19. Some Interesting Stories...<br />
  20. 20. Deschenes<br />
  21. 21. The medium & the message<br />Technology and the appearance of authority<br />
  22. 22.
  23. 23. What would we have done differently?<br />Train wreckatMontparnasse Station, at Place de Rennes side (now Place du 18 Juin 1940), Paris, France, 1895. Studio Lévy and Sons (Studio Lévy & fils)<br />
  24. 24. What would we have done differently?<br />“Retroactive crowdsourcing”<br />
  25. 25. What would we have done differently?<br />“Retroactive crowdsourcing”<br />“Gamification” of digitally crowdsourced work<br />
  26. 26. What would we have done differently?<br />“Retroactive crowdsourcing”<br />“Gamification” of digitally crowdsourced work<br />Procedural Rhetorics of the Software <br />
  27. 27. Relinquishing Control of the Historical Voice<br />Source for this photo? It exists in multiple copies online... See http://j.mp/oumey5<br />
  28. 28. Relinquishing Control of the Historical Voice<br />Conventional role of the historian: constructor of historical narratives<br />
  29. 29. Relinquishing Control of the Historical Voice<br />Conventional role of the historian: constructor of historical narratives<br />Uses sources to interpret the past, but interpretation is in the hands of the historian<br />
  30. 30. Relinquishing Control of the Historical Voice<br />Conventional role of the historian: constructor of historical narratives<br />Uses sources to interpret the past, but interpretation is in the hands of the historian<br />Social authority of the historian: institutionally trained, professional credentials<br />
  31. 31. Relinquishing Control of the Historical Voice<br />With the crowdsourcing of history, we are asking people from the public to define their sense of history and heritage<br />
  32. 32. Relinquishing Control of the Historical Voice<br />With the crowdsourcing of history, we are asking people from the public to define their sense of history and heritage<br />“Every person their own historian”<br />
  33. 33. Relinquishing Control of the Historical Voice<br />With the crowdsourcing of history, we are asking people from the public to define their sense of history and heritage<br />“Every person their own historian”<br />The democratization of history?<br />
  34. 34. In a nutshell:<br />Choose your base platform carefully, thinking through the technological and epistemological implications<br />Collect what already exists. <br />Seed your site with this material so you can identify the gaps. <br />Image: Termininga, Wikimedia Commons, http://commons.wikimedia.org/wiki/File:Almond_nut.jpg<br />
  35. 35. Narrow your target when communicating with the public: get them to fill the holes. <br />Make sure to design for engagement. <br />Building your crowd is key: put initial resources into publicity. <br />
  36. 36. Have an “elevator pitch”. <br />Make sure that the project can be described completely in 30 seconds or less. <br />Build your outreach and social media strategy around getting that pitch in front of as many eyes in your target crowd as possible.<br />
  37. 37. Whither HeritageCrowd?<br />Platform for outreach & communication<br />Environment for teaching & training of students (especially in HIST2809)<br />
  38. 38. Thank You<br />CUAG<br />FASS Jr. Research Fellowship, 2011<br />History Department<br />Communities of the Ottawa Valley<br />

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