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BOBCATSSS 2019 workshop
- 1. Google, the GLAM Sector and the Untouched Potentials for Participation Workshop with Astrid Jessen & Thore Davies, Department of Information Studies, University of Copenhagen BOBCATSSS 2019, Osijek, Croatia
- 2. Agenda 1. Presentation: Our work on Google Arts & Culture How form and materiality of information representations influence users’ access, interaction, and participation. 1. Design: Sketch your own participatory interface design A quick analogous cut and paste process 1. Discussion: Participants’ wireframes for a sustainable GLAM future Aim: To challenge existing and dominating narratives. Discussing the designs’ cultural political implications and sustainable, digital futures for the Galleries, Libraries, Archives and Museums-sector.
- 3. Theory Tools for reading representational forms critically
- 4. The distinction between curated and procedural representations echoes a well- worn binary in the digital humanities and digital media, between narrative and database (Whitelaw, 2015, p. 79). Database vs. Narrative Curated vs. Procedural
- 5. The virtual museum “a logically related collection of digital objects composed in a variety of media which, because of its capacity to provide connectedness and various points of access” (Schweibenz, 2004) Schweibenz’ four online museum types Whitelaw’s representatio n typology 1) The brochure museum: Basic information about the museum. Contact details, etc. Partial / curated (narrative) The ‘handcrafted’ 2) The content museum: This is a web site which presents the museum’s collections and invites the virtual visitor to explore them online. Object focused. Partial / procedural (database) 3) The learning museum: A web site which offers different points of access to its virtual visitors. Context oriented instead of being object oriented. Didactic, individualized. Total / curated (narrative) 4) The virtual museum: The website links to other collections. This is the implementation of André Malraux’s vision of “the museum without walls”. Total / procedural (database) The ‘show it all’
- 6. Participation and power Carpentier, 2015 1. Access: Presence in technology/media content (physical/intellectual) 2. Interaction: User-to-user, user-to-document, user-to-system 3. Participation: Power- and og decision-making, content production, management, ownership ”Despite its conceptual contingency, participation is still very much defined by the concept of power […] Arnstein (1969: 216) links participation explicitly to power, stating “that citizen participation is a categorical term for citizen power” (Carpentier, 2015, p. 19). participation interaction access
- 7. Why the memory institution needs participation ● Participation: Citizen power, competence, balance in power ● Securing and making collective cultural heritage relevant ● Memory is power ● From collection to connection ● To facilitate the creation of new stories, challenging existing narratives and canonised history
- 8. Google Arts & Culture
- 10. Memory institution and participation Green realism: https://artsandculture.google.com/entity/m010vqr6v?categoryId=art- movement&col=RGB_518077 Dolls: https://artsandculture.google.com/entity/m0167gd?date=1870&categoryid=other Artist page: https://artsandculture.google.com/entity/m01c_m_ Artist painting: https://artsandculture.google.com/asset/painter-and-palette/wgFQxHNDmVM69w
- 11. The emergence of a cultural context that supports widespread participation in the production and distribution of media. Participatory culture Jenkins, 2009, p 8
- 12. Let’s design
- 13. A paper sketch that presents proposed functions, structure and content on a solution proposal. A wireframe is a systematic drawing of many concepts and functions of a concept (think "blueprint"). When working with wireframes. Focus on how your concept looks. In this process you find out which boxes and contents are needed, what happens when you press a button and you figure out where to place the buttons. How to wireframe
- 15. ”if culture is now data, then our encounter with it is entirely shaped by the choices we make in representing that data” (Whitelaw, 2015, p. 93). Visualization of 20,000 photos from MoMA collection. Created by Cultural Analytics Lab directed by Lev Manovich.
- 16. Thank you Feel free to contact us Thore Davies https://www.linkedin.com/in/thore -davies Astrid Jessen fwh470@alumni.ku.dk Department of Information Studies (INF), University of Copenhagen
- 17. Literature Carpentier, N. (2015). Differentiating between access, interaction and participation. Conjunctions. Transdisciplinary Journal of Cultural Participation, 2(2), 7-28. Jenkins, H. & Bertozzi, V.(2008). Artistic expression in the age of participatory culture. In: Tepper, S J. and Ivey, B. (eds.) Engaging art – The next great transformation of America's cultural life. New York: Routledge. (171-195). Jenkins, H., Ito, M., & boyd, d. (2015). Participatory culture in a networked era: A conversation on youth, learning, commerce, and politics. Cambridge, UK: Polity Press. Klindt, M. (2017). When and How Do We Participate? On Participation from a Museological and Cultural- Political Perspective. Retrieved from http://www.arken.dk/wp-content/uploads/2017/04/when-and-how-do-we-participate_-by-maj-klindt_bulletin-2017-1.pdf Manovich, L. (2002). Data Visualization as New Abstraction and Anti-Sublime. Retrieved from http://manovich.net/index.php/projects/data-visualisation-as-new- abstraction-and-anti-sublime Manovich, L. (2001). The language of new media (1st edition.). Cambridge: MIT Press. Sanderhoff, M. (2014) Sharing is Caring. Openness and Sharing in the Cultural Heritage Sector. (1st ed.). Copenhagen: The National Gallery of Denmark. Retrieved from https://www.smk.dk/en/article/the-sharing-is-caring-anthology/ Schweibenz, W. (2004). The Development of Virtual Museums. ICOM NEWS, 3, 3. Simon, N. (2010). The participatory museum (1st ed.). Santa Cruz: Museum 2.0. Retrieved from http://www.participatorymuseum.org/read/ Whitelaw, M. (2015). Representing Digital Collections. In: Carlin, D., & Vaughan, L., (Ed.), Performing digital, multiple perspectives on a living archive (77-95). Farnham, Surrey: Ashgate.
Editor's Notes
- http://bobcatsss2019.ffos.hr/
- The database is characterized, as many of you know, by being a structured collection of, for example, multimedia content such as pictures, sound and video, where you can perform various actions such as watching, navigating, searching, selecting etc. technological means offer great possibilities to display and structure heritage in new ways. as more and more cultural institutions put online their collections, what is being shown, what dimensions are selected, and how are new important questions. maybe also what they dont show. missing links. Issues in the digitization of cultural heritage and digital cultural communication are an opportunity to focus on a number of themes; namely the conditions of physical and virtual sites, and how their forms influence interactivity, participation and democracy. important perspectives: introduce computerization of culture. Computer culture favors the database before narrative as you know it from for example film and literature. organized around a certain amount of time and its sequential. “As data, the digital object has no intrinsic, tangible form. Our encounter with a digital object consists of a particular representation or rendering of that data; but other representations are always possible.” (Whitelaw, 2015, p. 77)
- The term “virtual museum” has been defined as “…a logically related collection of digital objects composed in a variety of media which, because of its capacity to provide connectedness and various points of access, lends itself to transcending traditional methods of communicating and interacting with visitors…; it has no real place or space, its objects and the related information can be disseminated all over the world” “Eventually, these trends will blur the differences between cultural heritage institutions, and in the long run these institutions will merge into one memory institution” (Schweibenz, 2004) A memory institution combines digital surrogates of the collections of archives, libraries and museums in rich interactive environments and allows access to the content regardless of the nature of the institution. The goal of the memory institution is to preserve this content for future generations and support its use and management over time. (…) extend the ideas and concepts of collections into the digital space and in this way reveal the essential nature of the museum
- “Participation implies a higher level of public involvement in communication systems [than access]. It includes the involvement of the public in the production process and also in the management and planning of communication systems” (MacBride Commission, 1980, p. 19).
- Intro: Google Arts & Culture database: the way it provides access to one long row formats that convey digitized heritage objects. Besides, a row of experimental database forms, there are virtual museum tours, and much more on how the database as a cultural form contains different compositions of representations, which in the database can be presented as a narrative, but after all are databases. How does the form and materiality of representations influence the ability of the user to access, interact, and participation?
- Bagan: First of all, in this simulated museum space experience, the human experience of being in a physical space is demonstrated/represented through the database's representations as a continuous navigation through room. It is a more narrative way of accessing, but not favored by the database form and logic. The database groups individual objects, which you can search, select and do things with, of which you can also compose them in a coherent narrative. However, the form of the database does not favor narrative. en silo, af walled garden, the enclosed system. rather, it is the voice of google, not the voice of many.. The narrative supports the user in traversing the database. also, the narrative orders, hierarchise and classify, instead of inviting the user to do so. to pick and choose, arranging, sorting as the primary cultural act rather than creating, classifying. what is missing is something being at stake. users own contributions. hovesiden: eksempler - procedural - the search result. clicking on a category. partial, procedural: the artists page, wikipedia entrys, metadata. handcrafted, curated: story search and browse and facets
- Participation signifies democracy and diversity. low barrier for participation. a culture of participation is a place where members believe that their contribution makes a difference and where there are social connections. There is the underlying belief that we can make decisions together (almosts sounds like democracy), individually, and an insistence on having the capacity to express ourselves through many different forms and practices. a culture of participation embraces values such as diversity and democracy through all aspects of the interaction between members. if you think about it, the role of the authoritative culture institution is a strange chapter of creativity history, in that all the professionalization coming from the 20th century doesnt foster creativity. Participation culture is a revitalization of folk cultures. one big question - what are the implications of our communicative actions? let there be implications. We need to be able to take ownership of OUR cultural heritage and not just let it be up to Google how to do with it. overall big issue: getting a grip on a collective understanding of our cultural production. If everyone gets a voice: a fundamental shift in the way in which they are governed. How do you ensure that citizens have a greater voice in decision making that influences their lives? and how we ensure that people with various backgrounds are heard and take advantage of hearing each other. Power is relational (Castells, 2009): ‘the relational capacity that enables a social actor to influence asymmetrically the decisions of other social actor(s) in ways that favour the empowered actor’s will, interest and values’ (p. 10). Power is not an attribute of an individual or groups. It resides in the relation. Very much like Bourdieu's’ understanding of social capital. A relation which gives the resourceful more influence. Traditional arts institutions need to rethink their traditional roles as curators of the arts and instead embrace a new and potentially unfamiliar role as facilitators of participatory culture. Therefore, they shouldn’t police the borders between expressing and consuming. Rather, they should broaden what counts as expression and think of themselves as networks rather than gatekeepers.
- [...] there is power embedded and invested in every data file, in every single record and omission, in all curating and updating; in everything that we, who work in the cultural sector, do in our day-to-day practice. (p. 113)- Sanderhoff, M. (2014)