SCHUURMAN and VAN SANTEN
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As presented by Josefien Schuurman and Rosa van Santen (Sound and Vision) at the 2019 FIAT/IFTA World Conference in Dubrovnik, Croatia
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SCHUURMAN and VAN SANTEN
- 1. EVER MORE ACCESS: THE END OF CURATORSHIP? A false opposition and some trends Rosa van Santen & Josefien Schuurman 25 oktober 2019
- 2. ● Full access, but tailored for specific customers ● Curation, but not just on collections ● Developments at Sound and Vision ● Position in an “all media world” FROM ARCHIVING TO STORYTELLING
- 3. ● Meaning of media for society, in people’s lives ● Diversification: multi- and cross-media forms and non-lineair online media INSTITUTE FOR MEDIA CULTURE
- 4. ● Change of character ● Different activities, services and products ● Shifts in policies and organisational structures ● Change drivers: ○ administrative need for change ○ focus on customer groups and users ○ renewal of our museum ○ from AV to media TRANSITION
- 5. ● Networked working ● Competition for attention ● Impact measurement and governance ● AV as part of the changing media landscape EXTERNAL CHANGE DRIVERS
- 6. Releasing new digital media/collection products/channels/platforms 2017 New online product strategy 2018 - TILT (platform for curated stories) - MPP (full access for media professionals) 2019 - Beeld en Geluid op School (full access for primary and secondary education) - Mediasuite 2.0 ((new version) full access for academic/scientific researchers 2020 - 2022 - Schatkamer (The treasury), curated online access for everyone - Fully renewed museum, onsite media experience CHRONOLOGY of RELEASES Some organisational developments 2017 Rebranding S&V as a MEDIA institute 2018 - Developing organisation wide customer group categories - Experiments with data-aggregation for BI 2019 - Shift from process orientation to focus on customer groups - New collection and digital preservation policies 2020 - 2022 - Closing the existing museum. Focus will shift temporarily from on site to online - Towards customer insight management, based on optimized data and web analytics
- 9. 2. AWAY FROM OAIS MODELLED DEPARTMENTS
- 10. 3. DATA DRIVEN OPERATIONS
- 11. 4. ACCESS → TAILOR MADE
- 13. ● Shift to content-oriented thematic collection strategies ● 4 pillars: News & information, Culture & entertainment, Amateur & corporate productions, Media landscape 6. THEMATIC COLLECTION POLICY
- 14. 7. STORYTELLING ● New museum: what it means ‘to live in media’ ● Lectures, workshops, and presentations ● Online storytelling: TILT
- 15. EVER MORE ACCESS: THE END OF CURATORSHIP? DO TECHNICAL INNOVATIONS AND BLURRING BOUNDARIES MEAN THAT NO MEDIATION IS NEEDED?
Editor's Notes
- ROSA: When we submitted our proposal, we talked about full access versus curatorship, but since then, and in preparing our presentation, we have realised that we are even beyond that: yes full access, but tailored for specific customer groups; yes curation, but beyond that. In the Call for Presentations FIAT-IFTA tells us that “technological innovation is expanding the opportunities to connect and deliver on the promise of accessible, sharable value-driven content” and that “the boundaries between a production archive and an archive with direct access for everyone are becoming increasingly blurred.” The call asks the question if that means that no mediation is needed between the archive and its audience? We say that it depends, on the archive, the collection, the audience, etc. In our presentation today we will talk about the developments that we at Sound and Vision have gone through, the steps we are taking to maintain our position in this “all media world”.
- ROSA: This last shift, one we are still in the middle of, is one towards becoming an Institute for Media Culture: were we interpret current developments concerning people, media and society from a media-historical perspective. We show people how media have evolved in (recent) history, follow current developments and respond to new media phenomena: our interest is in the meaning of media for society, in people’s lives. We have seen a transition from analogue to digital media, but also a diversification: traditional media have been complemented with multi- and cross-media forms and non-lineair online media. This changes media production, distribution and consumption; and thus calls for a change in our strategies for selecting, collecting, archiving, preserving, but also curating, presenting, etc. And so we are in transition...
- ROSA: We are a (huge) archive, but in recent years our institute has shifted from a focus on archiving and providing access to the collections, to interpreting and to telling stories ourselves. This is quite a transition for an archive, one that we; looking back a bit, experience as a fundamental change of character, that has not only led to different activities, services and products, but also led to shifts in our policies and organisational structures (and hopefully the organisation’s culture). We will talk about this in a bit. This was not all, from ‘the beginning’, part of a big masterplan. We shifted and changed things, big and small, but now, looking back (and forward), we can identify various internal ‘change drivers’ such as an administrative need for change an increasing focus on customer groups and users the renewal of our museum (experience) and a shift from ‘audiovisual’ to ‘media’
- Before we go in depth, we list some of the mayor external change drivers. Stuff that happens anyway, if we like it or not. Of course one could make an endless list here, but we point out a few that are of particular, acute importance in our opinion. I will introduce them here shortly and they will reappear later Networked working: Sound and Vision is increasingly part of national and international networks. Not only representative gatherings like FIAT-IFTA, but actual networks were vision, infrastructures and tasks are shared more and more. Evolving networks can have a huge impact overtime on the position and activities of your organisation. It’s unavoidable and in itself a coping mechanism in managing change Competition for attention: as public broadcast or heritage organisations we still have a “special place” in the media landscape, but we are also part of this huge battle of consumer’s time and attention span. The intelligence and playfulness large media and tech companies use to attract and keep attention is something we can learn a lot for. The pace in which they develop strategies is stunning and can be much to our advantage Increased demand in governance and impact measurement: From governmental and funding bodies and partnerships expectations about impact and about measuring impact are high…. AV as part of the changing media landscape: This is well known, but non the less one of the main drivers demanding continuous development Developments in business modelling: every company is selling services. From buying chamber plants, light bulbs or datawarehouses, we are buying continuous services for green in the office, lighting in the exhibitions or access to your own aggregated data. This is driving expectations from our customers ... We’ll take you through some organizational trends we have identified; activities we actually consciously choose to do or concepts we like to experiment with. They are our answer to changes that happens anyway.
- Actual products and activities of the transition It shows the ouput of the transition on the left hand side, and the backbone developments on the right hand side What happened these last years. This chronology shows you what products were released
- So what do the transitions at Sound and Vision look like. We like to take you through some of the mayor SHIFTS in our organisation in more detail. To show what is means for Sound And Vision. We will take you through 8 occurring shifts/trends, and tell you about some relatively recent developments at our institute:
- So what do we actually do in addressing this battle for attention. To understand how to attract and keep attention, one of the core questions of course is what makes our communities tick? How do we know if we need more of less curation in digital product development? We have mastered media management, and while that is still essential to our core business, we made a sharp turn from process oriented management to customer oriented management. Five groups: media professionals, educational groups, heritage professionals, research (academic and scientifc groups), general public These are high level categories. Within we have defined specific target groups The communities we defined have been embedded in the organisational structure: dedicated people have the responsibility for relation and product development with a community. All product and project development is/should be driven by customer research and needs
- A sharp turn from process oriented management to customer oriented management - part II Moving from inward looking out to outward looking in Another part of this turn is that we let go of departments shaped on the OAIS model. The last few year have helped us enormously to further shape our archival activities But it also was a focus on the internal needs and changes The new department have a different role, we now have a more supply and demand structure The new departments are suppliers for our products and projects. Verhalen/Storytelling: content development, finding and shaping stories Verkennen / Exploration: customer research, information and data strategies This shift is also closely connected to the idea of networked working. You as a professional or as a department don’t have an individual or even soloist activity plan with yóu’re budget and KPIs. No, now Multidisciplinairy groups of people formulate joint goals and targets. Driven by the why and the for who. And this group can only achieve them by collaborating. These groups, these coalitions can change all the time. This is important because the central focus of the org. is quite different. Trying to understand what’s happening outside, curate or not to curate, are questions we are asking ourselves
- Relatie met external change drivers leggen > battle for attention + impact measurement and governance Another concept Metadata of the archives has always been our mantra Slowly in archives we see the MANTRA for metadata and data integrating We all have a high level of control on our archival data We start using archival data in different ways: log data for asset management planning We use data for our KPI management We start using data voor extensis analytics, growing towards customer insight management We increasingly use data for business and spend control For marketing campaigning and strategies Challenge = getting towards data driven strategizing Moving towards data driven operations; we have made a jump in use of metadata for search and UX
- Products are increasingly tailor made for specific customer groups in terms of both functionalities and contexts Shift towards fine-grained (timecoded (MPP)) and visualisations (Mediasuite)
- ROSA: But it is not just our curators who work on the visibility of our collection. As an institute, we have been and are still moving towards full and curated access in non-archival or heritage contexts. 4 examples: We have for some years now been partner in The Media Suite: one of the research environments within the Dutch CLARIAH research infrastructure for the humanities and social sciences. We are expanding our activities on Facebook and YouTube, from showing our copyright-free collection of Polygoon Nieuws, to creating our own video’s (and collecting other youtube channels into our archive). And we have very recently launched a new collection platform for educational users (Beeld en Geluid op School) that my colleague Julia Vytopil is at this moment talking about in another session ;) Teachers can find curated content for educational purposes. https://beeldengeluidopschool.nl/#/home Finally, we are planning to build a new online Treasure Room for the general public. A Spotify-inspired online environment for people to browse our collection. Where we want to invite people to come and watch our collection, and to surprise them with unexpected content. With general search options (full access), but more focus on curation of content (user research shows that this scores higher).
- ROSA: From access to curation... Shift in policy: a new collection policy As I said earlier, we have not only seen a transition from analogue to digital media, but also a diversification: traditional media have been complemented with multi- and cross-media forms and non-lineair online media. These developments make us want to broaden our collection, with commercial television, games, online video, social media,etc. And these developments have inspired us to shift from format-oriented collection categories to content-oriented thematic collection strategies in our new collection policy. We have divided our collection into 4 pillars: News & information, Culture & entertainement, Amateur & corporate productions, Media landscape > 20 domains of analogue and digital productions, objects and documents. And from these topics we develop collection strategies and selection criteria. For each of these thematic pillars we have appointed a curator. And these curators have 3 main tasks: collection development, developing knowledge on the collection, and creating visibility of the collection (see picture).
- ROSA: Finally, moving beyond access and beyond curation, we are expanding our storytelling activities. We have been telling stories about media for years, in our museum, exhibitions and events but we want to do more, and do better. So we are developing a whole new museum about what it means ‘to live in media’ (media bepalen mij en ik bepaal de media) > 5 needs that media (help) fulfill. We organise more and more lectures, workshops, and presentations for our various customer groups. To come and, listen, learn and talk about media developments (journalism, radio, diversity and inclusion, ethics, sports, etc.) And we have launched an online storytelling platform almost a year ago: TILT. As probably many of you have seen or heard about it last night, I won’t talk about it too long. But I do like to tell you that it has been a challenge to create this ‘instagram worthy’ story platform with a visual language and strong emphasis on attractive footage; and I don’t just mean technically. We have realised that telling stories about media (about the meaning and relevance of media) with our collection (and other material), is quite a different trade from showcasing and providing access to our collection; even from curation. It requires different ways of thinking and working, editorial skills that we are still developing and mastering. But we are getting better at it. We enjoy it more and more. And we learn a lot from it: about our audiences, about our collections and about the power of access, curation and storytelling.
- So to come back to the questions from the beginning: Ever more access: the end of curatorship? Do technical innovations and blurring boundaries mean that no mediation is needed? No! More access means that more curation is needed. Technical innovations and blurring boundaries create opportunities for new ways of engaging audiences with our collections, and for telling stories! We are curious to hear your experiences with these developments, and thank you for listening to us.