Sharing Memories of the Family Lives : The Power of the Personal
By Ms Sarah Finney
Research Communications Officer from School of Sociology and Social Policy
University of Leeds
Sharing is caring keynote 'Enriching cultural heritage collections through a ...Mia
Today I'd like to present both a proposal for something called the 'Participatory Commons', and a provocation (or conversation starter): there's a paradox in our hopes for deeper audience engagement through crowdsourcing: projects that don't grow with their participants will lose them as they develop new skills and interests and move on. This talk presents some options for dealing with this paradox and suggests a Participatory Commons provides a way to take a sector-wide view of active engagement with heritage content and redefine our sense of what it means when everybody wins.
[I was invited to Copenhagen to talk about my research on crowdsourcing in cultural heritage at the 3rd international Sharing is Caring seminar on April 1. I'm sharing my notes in advance to make life easier for those awesome people following along in a second or third language, particularly since I'm delivering my talk via video. My notes are at http://openobjects.blogspot.co.uk/2014/03/sharing-is-caring-keynote-enriching.html ]
2016 Fan Studies conference paper on Three Stages of FandomLiza Potts
Outside of the Royal Hospital of St Bartholomew in London, fans of the television show Sherlock have left notes and messages behind--but for whom? On the walls, on the windows, and on a nearby telephone box, fans have left notes, musings, art, and hashtags.
Over the course of several years, fan participation has moved through three distinct phases. First, this participation was aimed squarely at content producers; namely, these fans spoke
directly to Steven Moffat and Mark Gattis in their writings and art, asking that the producers alter the show and respond to the fans. The second stage of these writings revolved around fans acknowledging each other as a community, leaving behind tumblr
links, hashtags, and responses as if asking to connect with each other. The third stage of participation relied heavily on fan fiction, with many of the notes discussing shipping (Johnlock), crossovers (Wholock), and sketches of fan art.
In effect, St. Bart’s has become a place where fans have created a space of participatory memory for themselves and their Sherlock fandom. Observing and analyzing their work over the past several years has made these three stages visible. For while the space is not sanctioned by the government or the producers of Sherlock, it has become an area where fans have agency to congregate, write, and respond.
Sharing is caring keynote 'Enriching cultural heritage collections through a ...Mia
Today I'd like to present both a proposal for something called the 'Participatory Commons', and a provocation (or conversation starter): there's a paradox in our hopes for deeper audience engagement through crowdsourcing: projects that don't grow with their participants will lose them as they develop new skills and interests and move on. This talk presents some options for dealing with this paradox and suggests a Participatory Commons provides a way to take a sector-wide view of active engagement with heritage content and redefine our sense of what it means when everybody wins.
[I was invited to Copenhagen to talk about my research on crowdsourcing in cultural heritage at the 3rd international Sharing is Caring seminar on April 1. I'm sharing my notes in advance to make life easier for those awesome people following along in a second or third language, particularly since I'm delivering my talk via video. My notes are at http://openobjects.blogspot.co.uk/2014/03/sharing-is-caring-keynote-enriching.html ]
2016 Fan Studies conference paper on Three Stages of FandomLiza Potts
Outside of the Royal Hospital of St Bartholomew in London, fans of the television show Sherlock have left notes and messages behind--but for whom? On the walls, on the windows, and on a nearby telephone box, fans have left notes, musings, art, and hashtags.
Over the course of several years, fan participation has moved through three distinct phases. First, this participation was aimed squarely at content producers; namely, these fans spoke
directly to Steven Moffat and Mark Gattis in their writings and art, asking that the producers alter the show and respond to the fans. The second stage of these writings revolved around fans acknowledging each other as a community, leaving behind tumblr
links, hashtags, and responses as if asking to connect with each other. The third stage of participation relied heavily on fan fiction, with many of the notes discussing shipping (Johnlock), crossovers (Wholock), and sketches of fan art.
In effect, St. Bart’s has become a place where fans have created a space of participatory memory for themselves and their Sherlock fandom. Observing and analyzing their work over the past several years has made these three stages visible. For while the space is not sanctioned by the government or the producers of Sherlock, it has become an area where fans have agency to congregate, write, and respond.
At locations across the globe, people are creating impromptu spaces to memorialize and celebrate events. From the peace walls of Belfast to the memorials left after 9/11 in New York City, participants are writing on walls, leaving notes, and placing mementos on chain-link fences. While these spaces are outside of any officially sanctioned monument, they serve as a way for people to participate in memory-making activities.
Paris is a city where memory-making takes places in public cemeteries (in particular, at the grave sites of Jim Morrison and Oscar Wilde, which are literally covered in mementos) and on bridges (where lovers cover the chain-link fences with locks engraved with their names), the location where Princess Diana's fatal car crash occurred is of particular interest because of its international participation and resilience. While the immediate, overwhelming sense of mourning in 1997 was enormous, there are still participants who make pilgrimages to the site and participate in the space today, inscribing the space with writings in various languages, colors, and textures. Composing on the concrete slabs that surround the bridge above the tunnel where the crash occurred, these participants write of her loss, their shared grief, and their recovery. Examining this space in particular, we can discuss the writings of these participants, the spaces they inhabit, and the need for preserving and curating their participation.
What is the Role of the Professional Archivist in the Evolving Archival Space?Kate Theimer
My keynote address given in Christchurch, NZ at the joint conference of the Archives & Records Association of New Zealand and the Association of Australian Archivists in Christchurch.
Challenges, Choices, Collaboration
Door: Sheila Anderson (Professor of e-Research
Centre for e-Research
Department of Digital Humanities
King’s College London)
Archives Strengthening Historical Narrative: Sharing digital and linked data ...Design for Context
Private collections provide engaging windows into little-known subjects that, when made discoverable, are incredibly relevant to many diverse audiences. The Texas Coastal Bend Collection (TCBC) is a digital-first private collection that offers rich insight into the culture of the Texas Coastal Bend ranching communities, starting with the Irish immigration in 1834. The site’s topic-based framework immerses people in the region’s cultural history. Rich, well-structured metadata (subjects, people, places, historic events, relationships) allows every page to be a gateway for exploring over 200 artistic photographs, 9,000 images, archival documents, books, maps, genealogies, and 1,400 hours of oral history.
We describe the strategies and tools that enable rich exploration of the TCBC’s unique resources, its maintenance by a small dedicated staff, and how meaningful digital connections with other institutions can foster storytelling across an array of subjects. The digital approach that underpins the TCBC, incorporating highly structured categorization, linked data, IIIF, and a unique audio player, provides insights that can be used by other museums and archives.
Keynote speech at the seminar Interpreting Shared Heritage Through Time June 8th 2018 at Suomenlinna world heritage site. Seminar organizers: ICOMOS Finland and the Governing Body of Suomenlinna.
The keynote address for the Spring 2012 Midwest Archives Conference meeting. This talk continues and expands on my working definition of "participatory archives," providing examples and talking about the relationship between participation and engagement. (This PDF contains both the slides and explanatory text.)
NCompass Live - April 20,2016
http://nlc.nebraska.gov/ncompasslive/
Learn about the Lincoln Lancaster County Genealogical Society's unique relationship with Union College Library's Heritage Room. These two special collections have different missions, but have discovered mutual benefits in working together to reach members of the community.
Presenters: Sabrina Riley, Library Director, Union College, Lincoln, NE & Judi Cook, Lincoln Lancaster County Genealogical Society.
Library Film Education On and Beyond the ScreenRenee Hobbs
The Media Education Lab shares work on library film education at the Digital Media and Learning Conference, October 6, 2017. Presenters include Pam Steager, Liz Deslauriers, Mary Moen and Renee Hobbs.
Inbound communications as a catalyst for organisational changejottevanger
A presentation I gave at the iSay "Shape of Things" seminar at the University of Leicester in February 2013 (http://isayevents.wordpress.com/shapeofthings/program/).
The paper talks about the Imperial War Museums' experience of receiving communications through various different digital channels, and in particular comments on collection items, and the problem of dealing with them given current organisational structures and workflows - as well as the immense opportunity they present. Things have moved on, but I still find our categorisation of comment types to be useful.
The notes are hard to see in SlideShare but you need 'em! Scroll down the page. They fizzle out towards the end...
At locations across the globe, people are creating impromptu spaces to memorialize and celebrate events. From the peace walls of Belfast to the memorials left after 9/11 in New York City, participants are writing on walls, leaving notes, and placing mementos on chain-link fences. While these spaces are outside of any officially sanctioned monument, they serve as a way for people to participate in memory-making activities.
Paris is a city where memory-making takes places in public cemeteries (in particular, at the grave sites of Jim Morrison and Oscar Wilde, which are literally covered in mementos) and on bridges (where lovers cover the chain-link fences with locks engraved with their names), the location where Princess Diana's fatal car crash occurred is of particular interest because of its international participation and resilience. While the immediate, overwhelming sense of mourning in 1997 was enormous, there are still participants who make pilgrimages to the site and participate in the space today, inscribing the space with writings in various languages, colors, and textures. Composing on the concrete slabs that surround the bridge above the tunnel where the crash occurred, these participants write of her loss, their shared grief, and their recovery. Examining this space in particular, we can discuss the writings of these participants, the spaces they inhabit, and the need for preserving and curating their participation.
What is the Role of the Professional Archivist in the Evolving Archival Space?Kate Theimer
My keynote address given in Christchurch, NZ at the joint conference of the Archives & Records Association of New Zealand and the Association of Australian Archivists in Christchurch.
Challenges, Choices, Collaboration
Door: Sheila Anderson (Professor of e-Research
Centre for e-Research
Department of Digital Humanities
King’s College London)
Archives Strengthening Historical Narrative: Sharing digital and linked data ...Design for Context
Private collections provide engaging windows into little-known subjects that, when made discoverable, are incredibly relevant to many diverse audiences. The Texas Coastal Bend Collection (TCBC) is a digital-first private collection that offers rich insight into the culture of the Texas Coastal Bend ranching communities, starting with the Irish immigration in 1834. The site’s topic-based framework immerses people in the region’s cultural history. Rich, well-structured metadata (subjects, people, places, historic events, relationships) allows every page to be a gateway for exploring over 200 artistic photographs, 9,000 images, archival documents, books, maps, genealogies, and 1,400 hours of oral history.
We describe the strategies and tools that enable rich exploration of the TCBC’s unique resources, its maintenance by a small dedicated staff, and how meaningful digital connections with other institutions can foster storytelling across an array of subjects. The digital approach that underpins the TCBC, incorporating highly structured categorization, linked data, IIIF, and a unique audio player, provides insights that can be used by other museums and archives.
Keynote speech at the seminar Interpreting Shared Heritage Through Time June 8th 2018 at Suomenlinna world heritage site. Seminar organizers: ICOMOS Finland and the Governing Body of Suomenlinna.
The keynote address for the Spring 2012 Midwest Archives Conference meeting. This talk continues and expands on my working definition of "participatory archives," providing examples and talking about the relationship between participation and engagement. (This PDF contains both the slides and explanatory text.)
NCompass Live - April 20,2016
http://nlc.nebraska.gov/ncompasslive/
Learn about the Lincoln Lancaster County Genealogical Society's unique relationship with Union College Library's Heritage Room. These two special collections have different missions, but have discovered mutual benefits in working together to reach members of the community.
Presenters: Sabrina Riley, Library Director, Union College, Lincoln, NE & Judi Cook, Lincoln Lancaster County Genealogical Society.
Library Film Education On and Beyond the ScreenRenee Hobbs
The Media Education Lab shares work on library film education at the Digital Media and Learning Conference, October 6, 2017. Presenters include Pam Steager, Liz Deslauriers, Mary Moen and Renee Hobbs.
Inbound communications as a catalyst for organisational changejottevanger
A presentation I gave at the iSay "Shape of Things" seminar at the University of Leicester in February 2013 (http://isayevents.wordpress.com/shapeofthings/program/).
The paper talks about the Imperial War Museums' experience of receiving communications through various different digital channels, and in particular comments on collection items, and the problem of dealing with them given current organisational structures and workflows - as well as the immense opportunity they present. Things have moved on, but I still find our categorisation of comment types to be useful.
The notes are hard to see in SlideShare but you need 'em! Scroll down the page. They fizzle out towards the end...
WNR.sg - UNESCO’s Memory of the World Programme: Global Approach to Preservin...wnradmin
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The Art of Cultural Exchange / The Art of Cultural Exchange is a binational project coordinated by Professor Paul Heritage/Queen Mary University of London, and as a collaborator Researcher Professor Ilana Strozenberg/Federal University of Rio de Janeiro.
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Paper presentation at: “Youth 2.0 – Affordances, Uses and Risks of Social Media”, University of Antwerp, March 21th 2013
In Ireland, University College Cork crowdsourced an exhibition celebrating the much loved Cork Club Sir Henrys. The project celebrated nostalgia, love and engaged the Cork community and diaspora. This presentation shows how UCC Library used social media to tap into the nostalgia around the club
Documenting the Stories of Irene: An Ethnographic JourneyVTFolklifeCenter
Jacki McCarty, 8th grade English teacher and Sarah Ibson, 8th grade Social Studies teacher at Harwood Union Middle School partnered with the Vermont Folklife Center on a documentary project in the wake of Hurricane Irene.
In the early days after Hurricane Irene, eighty-five 8th grade students at Harwood sat down to write a prompt about the Hurricane and the Community Response. What grew out of that exercise was a semester long ethnographical interview project that culminated in 5 student produced documentaries.
This powerpoint, originally shared at the Vermont Association of Social Studies in Manchester, Vermont, details the origin of the idea, the scope and sequence of the project, and shows one of the
five final documentaries.
Including references to the tools, technology, and community resources utilized by students to successfully complete the project.
To view the final documentary, visit: http://www.youtube.com/watch?v=_Vn5bmEhm7o
For more information, contact:
An overview of the programme, participants, process and projects behind AFFECT' Second Edition, summer 2015.
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Europeana Strategy meeting “Migration and culture: how can our past educate ...Europeana
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Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
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For more detailed information on delivering micro-credentials in TVET, visit this https://tvettrainer.com/delivering-micro-credentials-in-tvet/
WNR.sg - Sharing Memories of the Family Lives : The Power of the Personal
1. Sharing Memories of Family Lives:
The power of the personal
Ms Sarah Finney
Research Communications
Officer
University of Leeds
When Nations Remember
Singapore
12th
October 2010
2. o Timescapes background
o Public engagement
o Turning points exhibition
o Personal accounts / narratives
o Public generated narrative (limitations & positives)
Contents
3. The Timescapes Initiative
o Timescapes is an ESRC funded project : the first
major qualitative longitudinal project to be funded
within the UK
o Uses the notion of ‘walking alongside’ people to
gain an insight into the dynamics of personal and
family relationships and how they change over time
o Comprises 7 empirical projects and 3 strands
o User engagement strand - engage number of users
in our work and this work encompasses the BBC
memory project and Family Lives and Turning
Points exhibition
4. Public Engagement
What is public engagement?
o Fluid and elusive term – has recently moved away from the terminology of
‘public understanding ‘ of science
o ‘’Public engagement describes the myriad ways in which the activity and
benefits ………can be shared with the public. Engagement is by definition a
two way process involving interaction and listening, with the goal of
generating mutual benefit.’’ (NCCPE) [in this instance would be research as
apposed to higher education]
o “ ….an umbrella term for any activity that engages with research, from science
communication in science centres or festivals,……to public dialogue. Any
good engagement activity should involve two-way aspects of listening and
interaction’’ (RCUK)
5. Why Engage?
o For society to share in the benefits of that research
o Increasing awareness of the value of research
o Enhance the quality of research by listening to and taking on board the
public’s reaction to the research, research will therefore be better informed
o Publicity and to raise the profile of the research
o Opportunity to gather more data
6. Family Lives and Turning Points
Exhibition
o Used the exhibition as an opportunity to gather more
research data
o Exhibition was in collaboration with BBC Memoryshare,
took place in March and May 2010
o Exhibition took place in London and Leeds
o Featured photographs and stories submitted by the
general public – accounts depict key turning points in
people’s lives
o Collection of accounts will form an important part of the
Timescapes digital archive
7. Engagement initiatives
o Turning points photography competition
o Photograph entries, all with accompanying narratives
o ‘Share Your Memories’ initiative
o Visited a school and day care centre for older people
Publicity
o Radio stations – local & national
o Press release
o Flyers – distribution lists
o Media screen in millennium square
o Local community groups
12. The opening event
‘’I went to the exhibition yesterday and I can't tell you how thrilled I was. It was
excellent. You exceeded all my expectations. Lis and I have been inspired by
the piece by the chap with depression (recognising some of the same
history!) and will begin to write again. I just loved the word art version of our
writing…. There were lots of people looking at the exhibition and I chatted
for a while with one of them about my Mam's photo and that turning point in
my life. So well done … for enriching our lives and I hope we can continue to
be involved in any way you think appropriate. In friendship, Phil.’’
[email from Phillipa O’Hare].
13. Creating your own Memory
Project
o Be Innovative
o Be Brave
o Be Inclusive
o Be Brash
14. The Power of Personal accounts
‘’ ….the memories of the past are a constant play, flashing beneath this
still surface in a still lake’’ (Rosen in Sheridan)
o Incredibly distinctive in its power to capture the past and bring it to
the present in a tangible and insightful way
o Snapshot of a society’s life history
o Narratives –oral & life history
16. Public generated narrative –
where does it sit?
o Limited literature in this area – closest piece of work ‘’Mass
Observation’’ project
o Representative? (Sheridan & Irwin)
o Shifting paradigms (Znaniecki, Rosen & Plummer)
o Narrative ambiguity
o The ‘self-selected’ sample
17. Public Narrative – The nation’s
memories
o No power dynamics
o Sense of freedom and empowerment
o Researching the un-researched
o Supplemented by research-generated data
o Stories represent ‘the public’
o Public narrative – sits between action research and public
engagement
18. Thank you for your attention
Sarah Finney
Research Communications Officer
Email: S.J.Finney@leeds.ac.uk
Web: www.timescapes.leeds.ac.uk
Editor's Notes
From the definitions get a real sense that it is two-way process and that it is not a one way stream of information – reciprocal.