The document discusses the EUscreen and EUscreenXL projects, which aim to aggregate over 1 million items of European television content and make them accessible online through Europeana. It describes how EUscreenXL involves 29 partners including broadcasters and archives from 17 countries. The document also discusses remix practices in online video culture and how EUscreen could motivate users to remix and engage with its television heritage content, noting some of the limitations archives may have. It raises questions about how people would like to enjoy and reuse television content in the future.
4. EUscreen project
• EUscreen Best Practice Network
eContentplus programme
• 36 months (2009-12)
• Consortium
28 partners
17 EU member states (plus Switzerland)
Broadcasters, archives, technologists, academic partners and
educationalists
• Relationship to Europeana (TV aggregator)
• Access to 35,000 items of audiovisual ARCHIVE content
5. Europeana.eu is an internet portal that acts as an interface to millions of books,
paintings, films, museum objects and archival records that have been digitised
throughout Europe. (Wikipedia)
Screenshot from: http://www.europeana.eu/portal/
6. 29m records from
2,200 European
galleries, museums,
archives and libraries
Books, newspapers,
journals, letters,
diaries, archival
papers
Paintings, maps,
drawings, photographs
Music, spoken word,
radio broadcasts
Film, newsreels,
television
Curated exhibitions
31 languages
Europe‟s cultural heritage portal
CC by Verbruggen & Pekel
7. EUscreen results
www.euscreen.eu
• 40,000 items of content (1950s - )
• 15 European languages
• Content viewable on portal and Europeana
• Interoperable metadata (back & front end)
• Virtual Exhibitions
• VIEW e-journal
• Multi-lingual
9. The EUscreen project aims to promote the use of television content to explore
Europe's rich and diverse cultural history. It will create access to over 1M items
of programme content and information, and by developing a number of
interactive functionalities and dynamic links with Europeana it will prove
valuable to the widest range of cultural, educational and recreational users.
Screenshot from: http://www.euscreen.eu
13. EUscreenXL (2013-16)
Large consortium – 29 partners
• Broadcasters and archives (18)
• Education/research, designers and technologists
• 17 languages
AV content to Europeana
• „Quantity‟ - Aggregation 1m+ items (basic metadata and
stills/thumbnails)
• „Quality‟ - Core Collection (20K+ AV) full metadata
Other tasks
• user engagement, network building & sustainability
16. Remix Practices
Remix definition: separating and recombining
many types of media including images,
video, literary text, and video game assets.
It is a form of creativity. Is is a culture of “rip
and create” Fagerjord (2010)
RIP! A Remix Manifesto
17. “Our culture no longer bothers to use words
like appropriation or borrowing to describe
those very activities. Today's audience isn't
listening at all - it's participating. Indeed,
audience is as antique a term as record, the
one archaically passive, the other
archaically physical. The record, not the
remix, is the anomaly today. The remix is the
very nature of the digital”
• (Gibson, 2005).
19. Remix is an increasingly popular activity and
this is why many video collections have
developed tools to motivate their users to
remix audiovisual content.
www.remixoid.com
20. Remixing practices can be individual
practices,
or collaborative.
http://www.video24-7.org/http://www.video24-7.org/
21. Remix practices
serve as a way to
contextualize records
(making them part of
new entities) and
decentralize curation
(remixers
reconsider which
videos will be reuse). CC by Stallio in Flickr
22. Remixers are not
perceived as possessive.
They want to share their
content and have it
remixed or appropriated
by others (Dikopoulus et
al, 2007). This is a
different approach in
respect on how archives
relate to their content.
CC by Stallio in Flickr
23. The ability to share
movies and feel part of
the online community
is perceived as central
motivation for creating.
CC by Stallio in Flickr
24. Why to remix?
To feel part and appreciated by the online community
To get attention to their message and themselves
To disseminate their ideas
Diakopoulus, et al, 2007
Jumpcut indicates each video‟s remix history and
the names of the users who have contributed clips to
the current version and automatically notifies
someone through email if their video has been
remixed.
”Plagiarism is the sincerest form of
flattery”
25. How to motivate this community of remixers to
interact with EUscreen material even though there
might be certain limitations and conditions for
sharing their work?
CC by Fotonen in Flickr
26. talkTV allows viewers to search through digitized broadcasts for
quotes and to extract them. Type in “how are you” and talkTV
retrieves all of the scenes from a video library where the phrase is
spoken: maybe one clip from “Friends”, another from “EastEnders”,
another from “Absolutely Fabulous”. They system searches the
Closed Captioned subtitles embedded in many broadcasts. The
Closed Captions‟ primary purpose is to provide the dialog of the
program onscreen for deaf viewers so they can „read‟ television. We
use the Closed Captions as a script that can be searched for quotes.
30. Reference
s
Diakopulus, N; Luther, K, Medynskiy, Y: Essa, I. (2007)
Rethinking Authorship: Reconfiguring the author in Online Video
Remix Culture.
Fagerjord, A. (2010). After Convergence: YouTube and Remix
Culture. International Handbook of Internet Research. Edited by
Husinger et al.