participatory archives: interacting with audiences, marion dupeyrat, ina

“PARTICIPATORY ARCHIVES:INTERACTING WITH AUDIENCES” Marion DupeyratIna

Get in contact: [email protected] in contact: [email protected]

#FIATIFTADubai2013 Marion Dupeyrat: “Participatory Archives”

Copyright © of this presentation is the property of the author(s). FIAT/IFTA is granted permission to reproduce copies of this work for purposes relevant to the above conference and future communication by FIAT/IFTA without limitation, provided that the author(s), source and copyright notice are included in each copy. For other uses, including extended quotation, please contact the author(s).

AN INTERNATIONAL BENCHMARK FOR PARTICIPATORY PRACTICES

A study conducted by Ina EXPERT consulting department

More than 200 organisations monitored in 30 countries : 120 heritage organisations / GLAM (Galleries, Libraries,

Archives, Museums)Archives, Museums) 20 heritage web platforms 70 media websites

20 Interviews conducted with project managers, experts and academics

12 case studies


AUDIENCES BEFORE


AUDIENCES NOW


WHAT DOES IT MEAN FOR HERITAGE ORGANISATIONS ?• Availability of content remains the number-one priority • But interactivity can be a real asset

3-branch online strategy


Availability of content

• Maximizing the dissemination of digital content on all platforms

• Disseminating content on high-traffic sites

Enhancementof content

• Supplying original additional content

Interactivity• Developing publishing

tools which allow audiences to engage with archival materials

• Involving audiences in “constituting” memory

• Engaging the expertise of specialist audiences and experts

©Ina EXPERT

NEW PROBLEMATICS

A new online environment New users, new practices


HOW DO YOU REACT?

WHAT DOES “PARTICIPATION” INVOLVE?

Augmented memory

Shared and owned

memory

• Voting• Sharing• Playing• Reusing

• Suggesting and proposing (new content to find, digitise and optimise)

• Contributing (sending content, enhancing collections)

CONTENT ENHANCEMENTENGAGEMENT


Enhanced memory

• Identifying (a place, a person, etc. to complete document sheets)• Tagging (adding keywords to an image to describe or categorise it) /

Transcribing• Contributing expert/personal knowledge (improving descriptions)• Placing in context, adding information

DATA ENHANCEMENT

ALLOWING USERS TO ENGAGE WITH CONTENTImplementing tools to give the users the opportunity to relate and “own” the content

Identifying

Tagging/transcribing

Contributing expert/personal knowledge

Contributing

+


Voting and sharing

PlayingReusing

Suggesting

Identifying

ENGAGING WITH CONTENT - VOTINGVOTING for content to be promoted - Focus on ABC Archives

To engage our audience, we chose a vocabulary that nourished the feeling of ownership. Our goal was for the contributor or the voter


the contributor or the voter to appreciate and own the archives.

Catherine Freyne, Producer in residence, « 80 Days that changed our lives » project curator-in-chief at ABC Archives

80 days that changed our lives - ABC (Australia)

ENGAGING WITH CONTENT - SHARINGSHARING content for reuse - Focus on open archives and social media


« Open Images », Beeld and Geluid (Netherlands) Arte Creative Recycling 360° Geo – Arte (France/Germany) « Al Jazeera Creative Commons Repository », (Qatar)

ENGAGING WITH CONTENT - PLAYINGFocus on games and scavenger hunts


Link

« Discovering the Civil War Scavenger Hunt» / NARA (US)« Télé Top Chrono » / Ina (France)

ASKING FOR HELPFolksonomy and social tagging

Identifying

Tagging / transcribing


Contributing

+


Voting and sharing

Playing

Reusing

Suggesting

Identifying

ASKING FOR HELP / DATA ENHANCEMENTFolksonomy and social tagging


“Your Paintings”, Public Catalogue Foundation (PCF)/BBC (UK) « Waisda », Beeld en geluid (Netherlands) Tagging interface, Magnum Photos (UK)

ASKING FOR USERS’ KNOWLEDGE• A new relationship between “pros” and “amateurs”• New ways for users to show their expertise

Identifying



Contributing

+


Voting and sharing

Playing

Reusing

Suggesting

ASKING FOR USERS’ KNOWLEDGE• A real dialogue, in which the organisation plays a role• A new trust given to non-professionals


Archives départementales de la manche facebook page (France) PhotosNormandie on Flickr (France) « Les Sherlocks », Mémoire website / Ciclic (France)RTE Archives on Twitter (Ireland) Wiki Beeld en Geluid (Netherlands)

ASKING FOR USERS’ ARCHIVE CONTENT• Appealing to users’ expertise on your collections• Collecting personal items

Identifying



Contributing

+


Voting and sharing

Playing

Reusing

Suggesting

ASKING FOR USERS’ ARCHIVE CONTENTAppealing to users’ expertise on your collections or on content they think you should look for or promote


« Dites-le » - Ina (France Asian Film Archive (Asia) Project Bonanza – DR (Denmark)

ASKING FOR USERS’ ARCHIVE CONTENT• From offline to online practices• Growing importance of UGC


Vintage Mobile Cinema, Pôle Image Haute-Normandie (France) Inédits / RTBF (Belgium) Ciclic (France)

J’ai la mémoire qui tourne / Historia (Canada) iReport / CNN (US) History Pin (International)« Wir waren so frei »/ Deutsche Kinemathek - Museum für Film und Fernsehen (Germany)

ASKING FOR USERS’ ARCHIVE CONTENT• Focus on two projects: “Singapore Memory Project” and “Europeana1914-1918” / “Europeana 1989”


Roadshows are essential because many of ourcontributors are in their eighties, so they are lessfamiliar with new technology and need help fillingout the questionnaire. What’s more, we canimmediately get the object checked by an expertand talk directly to its owner.

Ad Polle, “Europeana 1914-1918” project coordinator

These roadshows are mostly organised incollaboration with our partners leveraging ontheir events and programmes such as a carnival,Open House and anniversary celebrations.Roadshows are specifically organized to caterfor the strata of the population that are not tech-savvy and do not go online. A lot of the elderlyprefers such face-to-face contacts in terms ofsharing their memories.

Mr Gene Tan, Directeur, Singapore Memory Project,National Library Board of Singapore (NLB)

link

WHO CONTRIBUTES?

1

1,5

2

2,5

3

3,5

4Voting and sharing

Playing

ReusingTranscribing

Contributing archival materials

General public


0

0,5

Suggesting, proposing

identifying

Tagging

Contributing expert or personal knowledge

Placing in context

General public

Enthousiasts

Experts

Researchers

WHAT ARE THE BENEFITS FOR YOUR ORGANISATION?

A rise in audience figures?


WHAT ARE THE BENEFITS FOR YOUR ORGANISATION?

PART OF YOUR MEDIATION MISSION

ENHANCING THE VALUE OF YOUR ARCHIVES

ENHANCINGAPPRECIATION OF YOUR ORGANISATION

Enhancing content Social value Brand value /


visibility

Promoting the ownership of archives

For some organisations, offering different narrative threads

Functional value

Emotional value

Strengthening ties with your audiences by promoting dialogue

Promoting amateur expertise

Demonstrating social utility

IMPLEMENTING A PARTICIPATORY PROJECT: THE RIGHT QUESTIONSDefining the projectWhat is the aim of the project? What is the desired level of participation? What use will be made of these contributions? Who is the target public? What is the scope of the project?


What is the scope of the project? Is it a “one shot” or a long-term project?

Reflecting on the project in advanceHow does this project reflect the organisation’s overall strategy? Have the legal and technical limitations been thought through in advance? Are the skills required to implement and follow-up the project available in-houseHow will this project be funded? Which partners will the project be able to rely on? How do you convince people inside the organisation that the project is relevant?

PARTICIPATORY PRACTICES: IT’S UP TO YOU!

link


link

Ina « Mémoires partagées » (France)

“PARTICIPATORY ARCHIVES:INTERACTING WITH AUDIENCES” Marion DupeyratIna

Get in contact: [email protected] in contact: [email protected]


Copyright © of this presentation is the property of the author(s). FIAT/IFTA is granted permission to reproduce copies of this work for purposes relevant to the above conference and future communication by FIAT/IFTA without limitation, provided that the author(s), source and copyright notice are included in each copy. For other uses, including extended quotation, please contact the author(s).

participatory archives: interacting with audiences, marion dupeyrat, ina

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