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
…

We
need
more
of
this
SMART
CONNECTED
OPEN
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

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

we
can
achieve
“the
wise
crowd”,
which
is
diversity
of
opinion
Independent
decentralized
aggregated
James
Surowiecki

the
main
ques>on
is:
How
does
the
combinaKon
of
online
access
to
collecKons
&
parKcipatory
culture
shape
the
future
of
engagement
with
cultural
heritage?

Examples
of
Smart-‐Open-‐Connected

32+
million
objects
(October
2014)

Pan-European Aggregator for
Audiovisual Heritage
1
7
www.euscreen.eu

hRps://www.flickr.com/photos/internetarchivebookimages/with/14784850762/
2.6
million
images

Examples
of
Crowdsourcing
Engagement

Na>onal
Library
of
Australia
Within
one
year:
hRp://trove.nla.gov.au/
“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
hRp://www.beeldengeluidwiki.nl/
Launced
in
2008
Current
numer
of
pages:
34.327
Registerd
users:
1.664
Views
4,9
million

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

Measuring
the
Impact
#
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/

Posi>ve
Effects
of
OPEN
Source:
Europena
(cc-‐by)

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

Our
3
Crowdsourcing
Use
Cases

Use
Case
1:
Crowdsourcing
Video
Tags
@Sound
and
Vision
http://www.prestoprime.org/

– The
Results
of
First
Pilot
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

First
two
years
(2006-‐2008)
• 11
Q: Why did you tag?
PartcipaKng
Museums
• 1,782
Works
of
Art
in
the
Research
to help museums document art work
• 36,981
Tags
for fun
collected
to improve search for other users
• 2,017
Users
who
tagged
to learn about art
other (please specify)
so that I could find works again later
Museum
professionals
found
88%
of
the
tags
useful
0% 20% 40% 60% 80% 100%
to connect with others
don't remember
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

Use
Case
2:
Crowdsourcing
&
Nichesourcing
@Rijksmuseum
Accurator
ask the right crowd, enrich your collection
hRp://2-‐dot-‐rma-‐accurator.appspot.com/

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

Sound
&
Vision
and
Royal
Library
In
Digital
Event-‐centric
ExploraKon
Hermeneu>cs
Use
Case
3:
dive.beeldengeluid.nl

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

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