open, connected & smart heritage: towards new cultural commons

Open, Connected & Smart Heritage: Towards New Cultural Commons

Lora Aroyo

NIAS Workshop 2014

massive amount of digital content to explore …

http://lora-aroyo.org ! http://slideshare.net/laroyo ! @laroyo

at some point it all looks the same …


audiences feel disconnected & lost …


SMART

We need more of this

Johan Oomen, Lora Aroyo (2011). Crowdsourcing in the Cultural Heritage Domain: OpportuniCes and Challenges, hDp://www.iisi.de/fileadmin/IISI/upload/2011/p138_oomen.pdf

CONNECTED OPEN

Smart new technologies for indexing, retrieval & linking link to the workflows of creative industries distribution over various devices & platforms

Connected

Open to users

between collections to distributed content

“For content to be truly accessible, it needs to be where the users are, embedded in their daily networked lives.” (Wabel, 2009)

to stimulate collaboration & creativity

“Enabling anything like seamless access to the cultural record will require developing tools to navigate among vast catalogs of born-‐digital and digiCzed materials […] The return on this investment will be a humaniCes and social science cyberinfrastructure that will allow new quesCons to be asked, new paDerns and relaCons to be discerned, and deep structures in language, society, and culture to be exposed and explored.”


Digital Humani>es perform interpreta(on of texts and other media

interpretaCons deal with perspecCves


we need …. support of mulKple perspecKves


Peter Singer

we have …. altruism-‐driven crowds


… and because “the best collecKve decisions are result of disagreement, not consensus”

James Surowiecki


… and because “we [can] treat human brains as processors in a distributed system each performing a small part of a massive computaKon”, aka Human CompuKng


diversity of opinion Independent decentralized aggregated

James Surowiecki


we can achieve “the wise crowd”, which is

How does the combinaKon of online access to collecKons & parKcipatory culture shape the future of engagement with cultural heritage?


the main ques>on is:

Examples of Smart-‐Open-‐Connected


32+ million objects (October 2014)


17

Pan-European Aggregator for Audiovisual Heritage

www.euscreen.eu

hRps://www.flickr.com/photos/internetarchivebookimages/with/14784850762/

2.6 million images

hRp://www.geRyimages.nl/

hRp://openimages.eu/.en

hRp://openglam.org/

Examples of Crowdsourcing Engagement


Na>onal Library of Australia

hRp://trove.nla.gov.au/

Within one year: “6.000 members of the public had already enhanced the data significantly by correcCng over 7 million lines of text in 320.000 arCcles, and adding 200 000 tags and 4600comments to arCcles”

Na>onal Library of Australia

hRp://trove.nla.gov.au/

“fix this text”

V&A – Cropping Images

hRp://collec>ons.vam.ac.uk/crowdsourcing/

Old Weather Royal Navy ships around the Cme of World War I

launched Oct 2010

hRp://www.oldweather.org/ launched Oct 2010

Old Weather Royal Navy ships around the Cme of World War I

hRp://www.oldweather.org/

1001 Stories Denmark

hRp://www.kulturarv.dk/1001fortaellinger/en_GB

Sound and Vision Wiki

Launced in 2008 Current numer of pages: 34.327 Registerd users: 1.664 Views 4,9 million

hRp://www.beeldengeluidwiki.nl/

Bri>sh Museum hRp://en.wikipedia.org/wiki/Wikipedia:GLAM/Bri>sh_Museum

UK SoundMap “What does the UK sound like today? What impact do these sounds have on our lives?”

hRp://sounds.bl.uk/sound-‐maps/uk-‐soundmap

Steve.museum “Steve is dedicated to exploring the effecCveness of social tagging for accessing art

museum collecCons online and engaging audiences.”

Your Pain>ngs Tagger

hRp://tagger.thepcf.org.uk/

1 Million Euro’s…

dona>ons from a euro to 40,000 euros ($52,700), with the average about 150 euros ($195). French companies founda>ons a notes expressing apprecia>on and offering money to honor loved ones.

CrowdFunding arts & heritage

CrowdFunding at large

# items on Wikimedia Commons: 1,600 # arKcles on Wikipedia: 2,000 # language versions: 70 # views: 50,000,000!!!

2013 numbers: h]p://www.openimages.eu/blog/2014/09/sound-‐and-‐vision-‐on-‐the-‐future-‐of-‐video-‐on-‐wikipedia/

Measuring the Impact

Posi>ve Effects of OPEN

Source: Europena (cc-‐by)

Jason Ryan: h]p://www.slideshare.net/jasonryan/mcn-‐measuring-‐engagement (via Simon Tanner)

institutional websites

Measuring Measuring

Our 3 Crowdsourcing Use Cases


http://www.prestoprime.org/

Use Case 1: Crowdsourcing Video Tags @Sound and Vision

@waisda hRp://waisda.nl

– The first 6 months: •  44.362 pageviews •  12.279 visits (3+ min online) •  555 registered players (thousands anonymous players!)

– 340.551 tags added to 602 items – 137.421 matches

Results of First Pilot

•  11 PartcipaKng Museums •  1,782 Works of Art in the Research •  36,981 Tags collected •  2,017 Users who tagged

First two years (2006-‐2008)

Museum professionals found 88% of the tags useful

Q: Why did you tag?

0% 20% 40% 60% 80% 100%

don't remember

to connect with others

so that I could find works again later

other (please specify)

to learn about art

to improve search for other users

for fun

to help museums document art work

Public

MMA

Tags by Documentalists •  Tags describe mainly short segments •  Tags are ojen not very specific •  Tags not describe programmes as a whole •  User tags were useful & specific -‐-‐> domain dependent

Accurator ask the right crowd, enrich your collection

hRp://2-‐dot-‐rma-‐accurator.appspot.com/

Use Case 2: Crowdsourcing & Nichesourcing

@Rijksmuseum

Rijksmuseum Amsterdam holds an enormous collection which comprises over 1 million artworks

however, only a small fraction of about 8000 items are currently on display

… and present the collection online. 125.000 artworks are already available, and another 40.000 are added every year

the expertise of museum professionals lies in describing & annotating collection with art-historical information, thus for most artworks, we know when they were created, by whom

detailed information about the depicted objects, e.g. which species the animal or plant belongs to, is in most cases not available

the need for more detailed annotations: this painting is annotated only with “bird with blue head near branch with red leaf”, and the species of the bird and the plant are missing

by involving people from outside the museum in annotation process, we support museum professionals in their annotation task

we use crowdsourcing to get more annotations. we use nichesourcing, i.e. niches of people with the right expertise, to add more specific information

we use sources like Twitter to find experts or groups of experts on certain areas, e.g. bird lovers, ornithologists or people who enjoy bird-watching in their spare time

we have developed a platform where users can enter tags, either by using terms from a structured vocabulary or by adding free text

for tasks that are too difficult, we developed a game in which players can carry out an expert annotation task with some assistance

to evaluate the correctness of annotations they are reviewed & rated by other experts who have expertise in the same topic

dive.beeldengeluid.nl

In Digital Hermeneu>cs

Use Case 3: Event-‐centric ExploraKon

Sound & Vision and Royal Library


3rd Price at the SemanKc Web Challenge 2014

OPENIMAGES.EU •  3000 videos •  NL InsKtute for Sound & Vision •  mostly news broadcasts

DELPHER.NL •  1.5 Million Scans of •  Radio bulleKns •  (hand annotated) •  1937 – 1984

Erp, M. van; Oomen, J.; Segers, R.; Akker, C. van de; Aroyo, L.; Jacobs, G.; Legêne, S; Meij, L. van der;O ssenbruggen, J.R. van; Schreiber, G. AutomaKc Heritage Metadata Enrichment with Historic Events Museums and the Web 2011 h]p://www.museumsandtheweb.com/mw2011/papers/automaKc_heritage_metadata_enrichment_with_hi


engaging users

through event

narratives

Informa(on: Museums & Archives as Inventories of the World

André Malraux, The Imaginary Museum of World Sculpture, 1953


Interpreta(on: Museums & Archives as a Place to Engage with the World

Digital Hermeneu(cs •  a theory of interpretaCon of informaCon •  bringing people and technology together to explore:

–  how to model and represent informaKon –  how to provide engaging interacKon –  how to support interpretaKon

“Digital HermeneuCcs: Agora and the online understanding of cultural heritage” In proceedings of Web Science

Conference, (ACM: New York, 2011)


Chiel van den Akker, Marieke van Erp, Lora Aroyo, Ardjan van Nuland, Lourens van der Meij, Susan Lêgene, and Guus Schreiber (2013). Evalua>ng Cultural Heritage Access on the Web: From Informa>on Delivery to Interpreta>on Support

(WebSci’13)

Acknowledgements


PrestoPrime Team: Lora Aroyo, Riste Gligorov, Lo]e Belice Baltussen, Maarten Brinkerink, Johan Oomen, Jacco van Ossenbruggen, Michiel HIldebrand

http://prestoprime.eu

SealincMedia Team: Alessandro Bozzon, Geert-‐Jan Houben, Lora Aroyo, Lizzy Jongma, Guus Schreiber, Chris Dijkshoorn, Jasper Oosterman, Jacco van Ossenbruggen, Archana No]amkandath,

Myriam Traub

http://sealinc.ops.few.vu.nl/invenit/

DIVE Team: Victor de Boer, Oana Inel, Lora Aroyo, Johan Oomen, Elco Van Staveren, Werner Helmich & Dennis De Beurs


Agora Team: Lora Aroyo, Guus Schreiber, Lourens van der Meij, Marieke van Erp, Chiel van den Akker, Susan Legêne, Geertje Jacobs,

Johan Oomen

agora.cs.vu.nl

CrowdTruth Team: Lora Aroyo, Chris Welty Robert-‐Jan Sips, Carlos Mar>nez Or>z, Anca Dumitrache, Oana Inel, Benjamin Timmermans, Susanna van de Ven, Merel van Empel, Jelle v.d. Ploeg, TaKana Cristea, Khalid Khamkham, Harrië]e Smook, Rens van Honschooten, Arne Rutjes

CrowdTruth.org github.com/CrowdTruth

Links

On the Web •  http://waida.nl •  http://prestoprime.org •  http://agora.cs.vu.nl •  http://sealincmedia.wordpress.com •  http://dive.beeldengeluid.nl •  http://crowdtruth.org •  http://game.crowdtruth.org •  http://wm.cs.vu.nl

On TwiRer @waisda @agora-‐project @sealincmedia @prestocenter @vistatv #CrowdTruth


THANK YOU!


open, connected & smart heritage: towards new cultural commons

Technology