What's the (European) story - Alexander Badenoch


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What's the (European) story - Alexander Badenoch

  1. 1. What's the (European)(European) story? Making sense of the digital heritage environment Alexander Badenoch First EUscreen International Conference on Content Selection Policy and Contextualisation Rome, 7 October 2010 www.inventingeurope.eu
  2. 2. (The biggest digital heritage environment of them all…)
  3. 3. NO
  4. 4. NO
  5. 5. Yes,Yes, butbut what's the storywhat's the story??
  6. 6. Driving curiosity: making connections • "Curious person" ideal subject of digital heritage "It will invest the coming time in consciousness- raising campaigns that will fascinate and draw in to the history of the Netherlands all within the current state borders, all those who feel Dutch beyond them, and all its fans." The National Historical Museum Stimulates Imagination 2008
  7. 7. Driving curiosity: making connections • "Curious person" ideal subject of digital heritage • Drivers: – Exploration, assembling knowledge and recognizing patterns – Experience: pleasures of text, the past, etc. – 'Expert’ knowledge: uncovering new fields and ways of making connections
  8. 8. Driving curiosity: making connections • "Curious person" ideal subject of digital heritage • Drivers: – Exploration, assembling knowledge and recognizing patterns (mystery) – Experience: pleasures of text, the past, etc. – 'Expert’ knowledge: uncovering new fields'Expert’ knowledge: uncovering new fields and ways of making connectionsand ways of making connections
  9. 9. “Top down” agendas: creating access to digital cultural heritage Projects such as: – Gallica and other national collections – Europeana – MICHAEL (Multilingual Inventory of Cultural Heritage in Europe) – European Primary History Sources (EUI) – (etc...) Aimed (mostly) toward exploration
  10. 10. local agendas: demonstrating relevance • Institutions need to justify and redefine themselves as a (used) service: traffic as measure • Revenue generation (image licenses, etc.) • Not collections, but experiences (key pieces, core competences) often seen as key to new publics • 'Europe' is not always a useful frame of reference • Collaboration can be rewarding – but risks draining limited resources
  11. 11. Our goal: stimulating use of digital cultural heritage • utilize available online resources (and provide stimulus for more) • provide rich narrative environments for exploration and engagement • generate interpretive dialogue with experts • create links to and between CH collections (increase traffic)
  12. 12. The Project: A transnational history of Europe with technology as central focus www.tensionsofeurope.eu 6 Volumes6 Volumes Europe in the Global WorldEurope in the Global World From Nature to Networks: theFrom Nature to Networks: the Infrastructural Transformation ofInfrastructural Transformation of EuropeEurope European Technological Dramas:European Technological Dramas: Histories of Consumption and UseHistories of Consumption and Use Eventing Europe: ElectronicEventing Europe: Electronic Information and CommunicationInformation and Communication Spaces in EuropeSpaces in Europe Knowledge Societies, ExpertKnowledge Societies, Expert Networks and Innovation CulturesNetworks and Innovation Cultures in Europein Europe Governing Europe: Technology,Governing Europe: Technology, Experts and NetworksExperts and Networks
  13. 13. THE VIRTUAL EXHIBIT: A collaboration between current research and a range of major CH institutions 6 Exhibits6 Exhibits Collaboration between:Collaboration between: A narrow group of authors and aA narrow group of authors and a broader research networkbroader research network Science and technology museumsScience and technology museums Local and national generalLocal and national general collectionscollections Other specialized collectionsOther specialized collections National and EuropeanNational and European aggregation projectsaggregation projects
  14. 14. Virtual Exhibit: the concept • 'Static' component'Static' component:: web-based object-web-based object- driven exhibit compiled by scholars usingdriven exhibit compiled by scholars using CH contentCH content • Dynamic componentDynamic component: gather: gather selectedselected related content directly from museumrelated content directly from museum collectionscollections • Options forOptions for futher user interactivityfuther user interactivity:: multiple views; save trajectories or lightmultiple views; save trajectories or light table images; tag and share; chat/discusstable images; tag and share; chat/discuss
  15. 15. Making Europe: principles • European stories are those that questionEuropean stories are those that question borders, show movements, explore tensions;borders, show movements, explore tensions; • Objects are shown as having multiple meaningsObjects are shown as having multiple meanings and contexts within and beyond the exhibitand contexts within and beyond the exhibit • "Dynamic" objects are digitized and published"Dynamic" objects are digitized and published onceonce on their home site, leading users back intoon their home site, leading users back into new contexts and beyondnew contexts and beyond • Expert-led and user-led stories are brought intoExpert-led and user-led stories are brought into dialogue with each otherdialogue with each other
  16. 16. (the prototype:) EUROPE, INTERRUPTED (the prototype:) EUROPE, INTERRUPTED www.inventingeurope.eu
  17. 17. What's the European Story? "Combo" 10 April 1965 © AVRO Siw Malmkvist: "Liebeskummer" Jos Brink
  18. 18. European stories: ‘expert’ contexts • Teenagers, pop and broadcasting (Radio Luxembourg, 'pirates' etc.) • Americanization, my darling? and/or Europeanization? (yeah, yeah!) • Liveness, celebrity culture and textures of eventfulness • National public service broadcasting and the international recording industry • Popular memory and national canons
  19. 19. European stories: (con)texts • Multiple media (TV, radio,Multiple media (TV, radio, programme guides,programme guides, primary documents)primary documents) • Multiple practices (things,Multiple practices (things, stories, memories)stories, memories) • Multiple placesMultiple places
  20. 20. How do you get there from here? (B&G cat data) "Series of programmes where national and foreign pop artists perform (more or less live) before dancing teenagers. With attention to genres such as dixieland, chansons and the then-booming rock 'n roll. Series presented by Jos Brink, where national and foreign pop artists perform from the Concertgebouw in Haarlem" 00:00:06 + 00:28:16 Anthony en The Skylarks met "Caravan" en "Lady of Spain"; 00:03:11 Jan Rath en zijn Trio met "In your own sweet way"; 00:07:10 + 00:25:02 Siw Malmkvist met "Liebeskummer" en "Küsse nie nach Mitternacht"; 00:10:05 Peter en zijn Rockets met "Walking with my shadow" en "Ren naar hem"; 00:15:45 interview met Liliane, waarna zij optreedt met "Mixed up shook up girl"; 00:19:11 The Cousins met "New Orleans" en "Pep's". Mmv De Combonisten olv Joop Stokkermans.
  21. 21. "What do you want?" "What have you got? Material? Sure: What do you want? Here's a list of keywords... What have you got? Hmmm... How much do you want?How much have you got...?Archives Researchers Just choose representative things... Hmmm... that will take some time, and that costs money... Hmmm... that will take time, which will cost money... That covers most of what's there: What do you want?
  22. 22. Harmonizing knowledge • Everyone in the same room • Develop a common language • Objects or texts as mediators
  23. 23. Making European stories • 'Expert' knowledge(s) as curiosity driver in concert with exploratory and experience- driven platforms • Expertise needs to be brought into dialogue and coalition • Technical infrastructure rests on a social infrastructure and a common language