DH2013: Ad Pollé – Europeana 1914-18 & Europeana 1989


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Presentation of Europeana UGC activities in the workshop "Strategies for user generated content and crowdsourcing in museums and cultural heritage" at DH2013, Marseille

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  • Europeana is a catalyst for change in the world of cultural heritage.
    Our mission: The Europeana Foundation and its Network create new ways for people to engage with their cultural history, whether it's for work, learning or pleasure.
    Our vision: We believe in making cultural heritage openly accessible in a digital way, to promote the exchange of ideas and information. This helps us all to understand our cultural diversity better and contributes to a thriving knowledge economy.
    The Europeana Foundation is the operator of the Europeana service, including the search portal at Europeana.eu and related data services such as the Europeana Application Programming Interface (API) and the Linked Open Data pilot. The Foundation is governed by an Executive Committee and Board, and employs full-time and part-time staff.
    The Europeana Network is an open, expert forum comprising content holders and aggregators along with providers of technical, legal and strategic knowledge.
    Our services are under constant development by content and technology projects, collectively referred to as the Europeana project group.
  • This has led to the creation of a strong infrastructure for aggregation of cultural objects and a variety of ways to access this material online.
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  • http://exhibitions.europeana.eu/exhibits/show/europeana-1914-1918-de/neues-von-der-front/soldat-heitert-mit-skizzen-sei
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  • All collected material and stories from the UGC campaigns will be hosted on www.europeana1989.eu ,
    a dedicated channel on Historypin
    combined with relevant institutional material from Europeana
  • Everything has started with the panel discussion „Transformation – personal stories”
  • Europeana 1914-1918’s collection includes everything from letters to medals, trench art pieces and uniforms, and even a postcard from the young Adolf Hitler about his dental treatment in 1916.
    Fascinating as this is, it may reasonably be asked what use or meaning such an eclectic ‘collection’ actually has.
    Analysis is as yet in its earliest stages, nevertheless it is already clear both from the material, and from the contributors, that Europeana 1914-1918 has more
    than one form of ‘value’.
    Perhaps most obviously, ephemeral documents, if not already housed in permanent public collections, are at risk from loss or casual destruction. Photographing and adding to a public database may not guarantee preservation of the actual artefact, but it does maintain a useful record of content and physical appearance.
    It also brings accessibility.
    Some contributors decide, as a result of participation, to donate originals to a museum.
    It is good to be able to report that as a result of the Europeana 1914-1918 project the collection of mail (figure 14 below) is actually being donated to the archive where the roadshow was held, so the originals will be preserved and available to researchers whilst images are more widely accessible on the internet.
    This is clearly a two-way process, for not only have collections gained new material, but the public has gained new insights into their libraries and archives.
    Some of the visitors to the roadshows were not regular museum users, nor familiar with the various forms of research and technology involved.
    Introduction to these things through dedicated staff and a subject of interest (family history or the First World War) has benefits to both the new user and to the museums and libraries that may thereby widen their public image and user base.
    In this sense the Europeana 1914-1918 project serves as a friendly face for many institutions.
    In many ways the purest and clearest ‘value’ is the historical research potential of the new seam of artefacts and data that Europeana 1914-1918 represents. As yet barely touched, the avenues of investigation that might be considered are potentially hugely diverse and greater still when one bears in mind that this may extend across Europe.
    New material is of course grist to the academic research mill, and whilst the collection holds many familiar types of artefact, this is arguably the first time that such a collection has been formed through pieces that the public have chosen to preserve, and wish to preserve for the future.
    What is here has not been selected or weeded to meet a pre-planned museum agenda, and in this sense is genuine raw material.
    A few of the potential research areas might include patriotism, and propaganda.
    The rather random large ‘snapshot’ that is Europeana 1914-1918 provides not only a mass of new data, but possibly a more neutral measure against which to test existing theories and assumptions as well as to suggest new possibilities.
    In Europeana 1914-1918 we now have a collection that covers many units and most states, not compiled by censors or by army or governments.
    For research, the social historical element may be the strongest, but there are many sidelights to political, military, and economic history.
    Not all ‘education’ is research and great libraries.
    In the Europeana 1914-1918 collection can be found the raw material of school projects, essays, enlightened browsing, and informative relaxation.
    The pictures are often bold and interesting. Teachers can take and use them at all educational levels and carefully selected have something to say to both adults and children.
    From autumn 2012 a pilot project in the UK, with Lancashire Schools and Museums and the Soldiers of Oxfordshire Museum and Banbury High School, will seek to explore and exploit the collection in a more structured way with:
    􀀀 schools;
    􀀀 families of serving soldiers’
    􀀀 reminiscence in care homes and day centres for the elderly.
    Perhaps unexpectedly, it is also becoming obvious that contributors to Europeana 1914-1918 are themselves using it in new ways.
    Some upload material as part of genealogical study, or a way to make their family history accessible to others without parting with the original document or object.
    Others, perhaps the children or grandchildren of the people who feature in the material, are using the collection as a memorial, a retrospective online ‘in memoriam’ of those who died in the war, or after.
    The strength of feeling shines through when interviewing these contributors during roadshows.
    Apart from being an example of use of the archive as a form of public memorial it is worth noting that for some countries, e.g. Germany, war graves are not all well recorded and that the information here may well prove of use to genealogists.
    Finally it can be argued that the image of Europe in the press and media is not always positive.
    The man or woman on the street appears more likely to remember news of some new rule or problem, rather than the fact that European funding financed a new bridge or highway, for example.
    A British pilot project (the Oxford Community Collection model as tested in The Great War Archive, 200823) has become European (Europeana 1914-1918), covers Europe, and gives something back to European citizens who support it. Europeana 1914-1918 engages on a very personal level showing an interest or value in the culture, memories of the individual and his family and neighbours.
    It also compliments the digitisation of existing public 1914-1918 collections.
    In this way Europeana is itself becoming a valuable part of centenary commemorations.
  • DH2013: Ad Pollé – Europeana 1914-18 & Europeana 1989

    1. 1. Europeana & the UGC End user Iniatives Ad Pollé UGC & Crowdsourcing Strategies Workshop Digital Heritage 2013 International Congress Marseille, 1 November 2013
    2. 2. WHY What is Europeana?
    3. 3. Who We Are Our mission: The Europeana Foundation and its Network create new ways for people to engage with their cultural history, whether it's for work, learning or pleasure. Our vision: We believe in making cultural heritage openly accessible in a digital way, to promote the exchange of ideas and information. This helps us all to understand our cultural diversity better and contributes to a thriving knowledge economy.
    4. 4. Network • 500+ members Breakdown Galleries: 2 Libraries: 111 Archives: 26 Museums: 60 National Aggs: 22 Publishers: 2 Creative Ind: 5 Research: 78 Ministries: 9 Other: 174
    5. 5. Strategic Plan 2011-2015
    6. 6. Distribute Make heritage available wherever users are & whenever they want it
    7. 7. Aggregate Build the trusted source for cultural heritage
    8. 8. Aggregated • 2200+ content providers • 142 aggregators • 26.9 million objects Distributed • Portal • Mobile • Tablet • API • LOD
    9. 9. Who provides to Europeana? National Aggregators, single domains Museums National Aggregators, cross domains Museums, libraries , archives audiovisual Thematic Aggregators Archives Libraries Project Aggregators National Archives Audio Archives Museums, libraries & archives Museums, libraries, archives, audiovisuals
    10. 10. Facilitate Support the cultural heritage sector through knowledge transfer, innovation & advocacy
    11. 11. Engage users in new ways with content and curators
    12. 12. Our Websites Europeana Professional is the common website for Europeana projects, reaching cultural heritage professionals and technologists. It is the official source for technical information, metadata standards and case studies, and also brings together all project work. The Europeana portal is our search engine for the digitised collections of museums, libraries, archives and galleries across Europe. Our Virtual Exhibitions feature highlights from our collection.
    13. 13. What connects a life-saving Bible…
    14. 14. …a crucifix in a bottle…
    15. 15. …and a postcard?
    16. 16. Europeana 1914-1918 is a pan European engagement project concerning The First World War focusing on the human rather than the military aspects of the time
    17. 17. Europeana 1914-1918 – From concept to project  2008 - Oxford University & JISC launch the Great War Archive  2010-2011 – Europeana, DNB & Oxford University launch Erster Weltkrieg in Alltagsdokumenten  2012-2014 – Europeana launch a series of initiatives across Europe
    18. 18. Romania
    19. 19. January 2012 – November 2013: 37 road shows in 10 countries • Romania (Bucharest, Cluj-Napoca) • Italy (Trento, Rome, Vicenza, Pordenone) • Belgium (Ypres, Antwerp, Louvain, Hasselt, Dendermonde, etc.) • Cyprus (Nicosia) • Denmark (Sonderborg, Gentofte, Aarhus, Vejle, Copenhagen, etc.) • Ireland (Dublin, Limerick) • UK (Preston, Banbury) • Slovenia (Celje, Maribor, Nova Gorica, Ljubljana) • Luxembourg (Luxembourg) • Germany (Amberg, Bonn, Aachen, Bocum, Bremen)
    20. 20. Europeana 1914-1918 • 3000+ visitors • 1500+ contributors • 3500+ stories • 50.000+ files (of which 3500+ as online submissions)
    21. 21. Upcoming road shows 2013 • Slovakia (Bratislava 29 & 30 November, Kosice 6 & & December, Martin 13 & 14 December) • France (75 road shows nationwide – 9 to16 November) • Belgium (various cities in Flanders) 2014 • Germany (3rd series of 4 roadshows) • Netherlands • Austria • Poland • Greece • Portugal • Hungary • Serbia
    22. 22. http://centenaire.org/fr/la-grande-collecte
    23. 23. - posters - flyers - postcards
    24. 24. Munich and Stuttgart
    25. 25. Great Britain, Preston
    26. 26. One of the most successful road shows so far, more than 600 participants. Ireland, Dublin
    27. 27. Slovenia, Nova Gorica
    28. 28. PR-Campaign Europeana 1914-1918 in Germany Press launch in Berlin - A3 Posters - Folder - Postcard
    29. 29. Europeana 1914-1918 virtual exhibition: Untold stories www.exhibitions.europeana.eu
    30. 30. www.europeana1914-1918.eu
    31. 31. Online Cataloguing Form
    32. 32. Europeana 1914-1918 Related initiatives
    33. 33. Europeana Collections 1914-1918: Remembering World War 1 • a substantial collection of digitised masterpieces from the period • 10 national and state libraries in 8 countries that found themselves on different sides of the conflict More information on the project website: www.europeana-collections-1914-1918.eu
    34. 34. EFG1914: Digitising films on World War 1 • around 650 hours of films and related material on the First World War • covering newsreels, documentaries, fiction films, propaganda and anti-war films • from early 2013 on, the first films will be accessible through: www.europeanfilmgateway.eu and www.europeana.eu • special highlights will be presented in a virtual exhibition • 25 partners, including 20 film archives More information on the project website www.project.efg1914.eu/
    35. 35. WW1 Thematic environment • Off line contributions (collection days) • Online contributions • Channels • Social media • Other
    36. 36. The Europeana 1914-1918 thematic environment • Search across project’s content • Browse and connect content (UGC + institutional content • Generate galleries • Engage in tagging opportunities • Get information: find out about events, other initiatives, virtual exhibitions • Contribute content • Help enrich metadata
    37. 37. Europeana 1989 is a pan European engagement project concerning the political and social changes in Eastern- Europe around the year 1989
    38. 38. Europeana 1989 • collects personal memorabilia and stories • combines this with institutional collections • creates engaging end user experiences • delivers a programme of compelling, participative activities • leads up to the 25th anniversary of the fall of the Berlin wall on November 9, 2014
    39. 39. “…4 distinct but interrelated parts…”
    40. 40. Partners • Europeana Awareness partners – Facts&Files – NinA (PL), – Mazvydas Library (Lithuania), – CEU (Hungary), – SDK (Germany) and – USD AV CR (Czech Republic) – National Museum (Czech Republic) – National Library Estonia) – National Library (Latvia)
    41. 41. UGC collection & PR campaigns • Series of collection days and PR campaigns • From June 2013 – November 2014 • Minimum 200 stories, app. 10.000 items & app. 1500 visitors
    42. 42. Institutional Collections • Several important institutional collections of topic related material will be identified and made available to the project • First collection to be ingested Wir waren so frei (from SDK, Berlin)
    43. 43. Collection and Discovery site
    44. 44. Engagement activities • Roll out several engagement campaigns • 2 target audiences: contributors and end-users • Based on the material collected on the website • Events: a series of collection days, a social media campaign, the 89 voices spin off, an editathon and a virtual exhibition • Historypin website is well set up to develop social media campaigns
    45. 45. Europeana 1989 Time Schedule When What Where 19 April 2013 Project Kick Off The Hague, Netherlands 27 May 2013 Launch of website internet 03 June 2013 European Press Launch Warsaw, Poland 08 June 2013 Kick Off 1989 / Round Table Warsaw, Poland 8 & 9 June 2013 Collection Days Poland #1 Warsaw, Poland 14 & 15 June 2013 Collection Days Poland #2 Gdansk, Poland 21 & 22 June 2013 Collection Days Poland #3 Poznan, Poland 1 July 2013 Start EU Presidency Lithuania Vilnius, Lithuania 9 &10 August 2013 Collection Days Lithuania #1 Vilnius, Lithuania 16 August 2013 Collection Days Lithuania #2 Panevežys, Lithuania 23& 24 August 2013 Collection Days Latvia Riga, Latvia 30 & 31 August 2013 Collection Days Estonia Tallinn, Estonia November 2013 [tbc] 1989 Campaign Czech Republic Prague, Czech Republic May 2014 [tbc] 1989 Campaign Germany Berlin/Leipzig, Germany June 2014 [tbc] 1989 Campaign Hungary Budapest, Hungary 09 November 2014 25th Anniversary Opening o/t Wall Germany
    46. 46. Round Table Discussion
    47. 47. Media coverage Europeana 1989 Poland 52 radio broadcasts (national and local), 12 TV broadcasts (national and local), 10 press articles (national and local), 109 online articles (national and local). 30 000 leaflets, 25 000 postcards, 1000 posters
    48. 48. Results… 329 items contributed by: 17 contributors in Warsaw 20 contributors in Poznań 1 contributor in Gdańsk In total: 38 people In total: approx. 100 visitors
    49. 49. Why does Europeana want to collect UGC?  to cultivate new ways for users to participate & engage in their cultural heritage in innovative ways  to broker new relationship between curators, content and users  to strengthen collaboration with the network and share knowledge (Europeana strategic plan 2011-2015)  to promote end-user engagement  to help enrich existing content and data (e.g. geo-tagging)
    50. 50. Value of the collection • Preservation • Research potential • Education • A friendly face and a new audience for many institutions • Europe, European, Europeana
    51. 51. Issues, experiences • • • • • Monitoring Moderation Archiving Marketing Copying
    52. 52. Thank you. Ad Pollé Ad.Polle@kb.nl