As the Web gets more “social” and as museums, libraries and archives are beginning to offer online access to digital representations of their collections, users and institutions are beginning to inhabit the same, shared information space. This is an exciting prospect, as we are now witnessing new paradigms for engaging users with our shared heritage. 'Netizens' (people actively involved in online communities) are using technological advances, offered by cultural heritage institutions, publishers and other commercial entities, as well as objects from a great variety of sources to shape this information space. The new paradigms imply, in many cases, the need for profound change in institutional practice. For instance, using the power of the Social Web to enrich the knowledge about our shared heritage. As a result, republication and the reuse of heritage will be enhanced, and thus its value is increased. This presentation focusses on: - www.openimages.eu - www.waisda.nl

1. Joint
Technical
Symposium
2010,
Oslo,
Norway,
May
2-­‐5,
2010
DIGITAL
CHALLENGES
AND
DIGITAL
OPPORTUNITIES
IN
AUDIOVISUAL
ARCHIVING
Audiovisual Heritage and
Participatory Culture
Johan Oomen
Sound and Vision / Vrije Universiteit Amsterdam

3. Experiences
“Without
..long-­‐term
planning,
digiQzaQon
projects
can
come
to
behave
like
black
holes
in
the
sky.”
Image:
Nathan
Shedroff
Strategies
for
Sustainable
PreservaQon
of
Born
Digital
Public
Television
(Preserving
Digital
Public
Television
Project)

4. Context
"public reuse produces a kind of value that doesn’t just come
from publication. It comes from republication and
reuse" (Shirky, 2009)
-­‐
preservaQon,
digiQzaQon
and
provision
of
access
to
137.200
hours
of
video,
22.510
hours
of
film,
123.900
hours
of
audio,
and
2.9
million
photos
-­‐

5. Increased use of archive
JTS
2007

6. 5 rules for museum content
• 1. Discoverable – it is where I am and where I look for it.
• 2. Meaningful – I can understand it.
• 3. Responsive – to my interests, moods, location.
• 4. Useable/Shareable – I can pass it on and share.
• 5. Available in all three locations – online, onsite and
offsite.
(Seb Chan, 2009)

7. Digital
Archive
Digital
Born
Digi,sing
Legacy
Material
15.000
hours
of
video
Images
for
the
Future
40.000
hours
of
radio
>250.000
hrs
of
audio
and
video
content
content
(import)
(encoding)
Asset
management
metadata
metadata
(import)
(conversions)
Broadcast
Public
Web
Acces
ExhibiQons
EducaQon
User
generated
Professional
content
and
metadata

9. "if
it
doesn't
spread,
it
is
dead"
(Jenkins,
2009)

10. Item view

11. www.openimages.eu
• Open media platform for online access to
audiovisual archive material, available for free
(creative) reuse
• Contributers include:

12. Open, open, open
• Open source media platform (MMBase)
• Use of and open video codec (Ogg Theora)
• Use of the HTML5 <video> tag
• Use of an open API (OAI-PMH, Atom feeds)

13. Licence
• CC-BY-SA as preferred license
• 3,000 items from our ‘own’ collection
• ‘Internet quality’

14. Open
Images
Rights
owned
by
Sound
and
Vision
DigiQsed
items
Sound
and
Vision
collecQon

25. Mobile application
CMS
www
iPhone
App
Physical
space

26. geodata
descrip?ons
pages
photo’s
video’s
www
geotags
Physical
space
photo’s
comments

29. Exploring
Europe’s
Television
Heritage
in
Changing
Contexts

30. “In
the
end,
the
crowd
sQll
rules.
To
be
smart
at
the
top,
the
system
has
to
be
smart
all
the
way
through.”
(Surowiecki
,
2004)

31. www.waisda.nl
• Inspired by the work of Luis von Ahn (among
others)
• The goal of the game is consensus between
players (which also works as filter)
• Fun and competition as motivation
• Almost 600 hours of material / 2.400+ items

32. ESP Game and steve.museum

33. Why?
1. Bridging the semantic gap
2. Add more (+ fine grained) knowledge
• Time-related metadata (inter-video search)
3. Role in workprocesses of the future
4. Interaction between the archive /broadcaster
and the public
• 160k people are volunteering in CH in the
Netherlands (win-win)

36. • Basic rule – players
score points when their
tag exactly matches the
tag entered by another
player within 10 seconds
• Multiple other scoring
mechanisms to create
various tag incentives

37. Traffic
• Generating a constant flow of traffic is a challenge!
Strong partners and links to Waisda? on external
websites proved important.
• Example: in October 2009: great boost through
Farmer wants a Wife website
In
one
week:
•
Number
of
tags
tripled
to
160.000
•
Number
of
registered
players
doubled
to
362

38. Results (evaluation May-November 2009)
• Since the launch in May 2009:
• 44,362 pageviews
• 12,279 visits (3+ min online)
• 555 registered players (but thousands of
anonymous players!)
• 340,551 tags added to 602 items
• 42,068 unique tags

39. Results (cont.)
Matches
Waisda?
Matches
GTAA
&
Corneio
(=
42,068
unique
tags
have
matches)
(=
14,493)
1/3
of
all
words
are
a
valid
Dutch
word

40. Tag evaluation by documentalists
• Farmer wants a Wife, Westerman’s New World
• Tags describe mainly short segments, and are often not very
specific. Tags do often not describe programmes as a whole.
• BUT! Can be solved by applying ontology alignment.
• The WNW tags were most useful and specific: content of a
programme influences tags specificity.

42. Future: Semantic Tagging

43. • twitter: johanoomen
• joomen@beeldengeluid.nl
Promote
the
use
of
television
content
to
explore
Europe's
rich
and
diverse
cultural
history.