Building an Interactive Research and Delivery Network for. Television Heritage ... The Pan-European Aggregator for Audiovisual Content. EUscreenXL ...
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Engaging with Audiovisual Heritage Online Willemien Sanders & Eggo Müller Utrecht University RMeS Leiden, 19 June 2015
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• The EUscreen project • Publishing with/about audiovisual content • Tensions between traditional publishing and DHapproaches • Discussion
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The EUscreen project
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EUscreenXL • Birth of TV (2003-2005) Building an Interactive Research and Delivery Network for Television Heritage
• Video Active (2006-2009) Creating Access to Europe’s Television Heritage
• EUscreen (2009-2012) Discover Europe’s Audiovisual Heritage
• EUscreenXL (2013-2016) The Pan-European Aggregator for Audiovisual Content
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32 partners in 22 European countries
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EUscreenXL: objectives (2) Core Collection:
(1) Metadata Aggregation:
20.000 new contextualised video items added to the euscreen.eu portal
1.000.000 metadata records of audiovisual heritage ingested to Europeana
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User engagement: General audience Researchers Creative industry
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Participatory archiving: concepts “The fundamental characteristics of the proposed approach are decentralised curation, radical user orientation, and contextualisation of both records and the entire archival process.” Isto Huliva in: Archival Science (2008)
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Participatory archiving: concepts • based on user participation • ‘grassroots cataloguing, folksonomies, social tagging’ • ‘ongoing, iterative and emergend ontology-building process’ • ‘scaleable and sustainable participatory archive’ Shilton/Srinivasan (2008)
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Participatory archiving: tensions ARCHIVE professionals creator-centered quality gatekeeping taxonomy contextualisation interpretation heritage read-only memory
DYNARCHIVE crowd/users user-centered popularity participation folksonomy appropriation consumption nostalgia write-also memory
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Participatory archiving: tensions • IPR-issues, geo-blocking • Commercial interests (premium content; fees) • Institutional traditions of national broadcaster archives • Diverse user groups (general audience, researchers, professionals creative industries) • The scary ‘crowd’
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EUscreenXL: virtual exhibitions
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EUscreenXL: virtual exhibitions
16 Freedom Express
Berlin 04.11-10.11.2014 Brussels 14.11-24.11.2014 Warsaw 28.11-29.12.2014
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EUscreenXL: VIEW journal
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EUscreenXL: user-engagement • MyEUscreen (soon to be released) • EUscreenXL Publication Builder (soon to be released) • EUscreenXL curation tool WITH (soon to be released) How to use the new resources? How to write/publish in the ‘age of access and availability’?
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“YouTube has become the standard of what people expect audiovisual archives to be – unlimited access and active user participation have become crucial for an archive’s visibility and public existence.”
Rick Prelinger in Snickars/Vonderau (eds.): The YouTube Reader (2009)
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Publishing with/about audiovisual content
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“If future generations of historians want to keep this key competence within the realm of their discipline and habitus, they will need to develop skills in computer science, digital image analysis and network technology.” Andreas Fickers, 2012
23 Academic publications:
Research question Theoretical framework Methods Results Conclusion Discussion Bibliography
Academic materials: Books Articles Documents Interviews Film, video, photo Audio …
Online Publication:
Prototypes based on best practices
24 online academic publications: VIEW. Journal of European Television History and Culture The Roaring ‘Twenties
Vectors. Journal of Culture and Technology The Battlefield of (in)visibility Audiovisual Thinking. Journal of academic videos
online media projects: Soul-Patron
Interactive documentary
After the Liberation XL
Television series website
Snow Fall
The New York Times interactive long read
student’s scenario: TV News: From static to dynamic
25 VIEW: Journal of European Television History and Culture • Text oriented • Format based design • Embedded content and technology
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Snow Fall. The Avalanche at Tunnel Creek (John Branch, NYT, USA 2012) • Textual and visual characteristics combined • Interface design based on timing and ‘automatic’
navigation + embedded
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Vectors: The Roaring 'Twenties (Emily Thompson, USA 2013) • Visually oriented • Individual design reflects content • Creators account for content/design
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Towards prototypes: axes of online publication
VIEW
Textual
Snow Fall
The ‘Roaring Twenties
Visual
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VIEW; Snow Fall • Linear narration: beginning, middle, end • Limited navigation
30 Audiovisual Thinking: The Battlefield of
(in)visibility (Rune Saugmann Andersen, University of Copenhagen, 2012) •
Academic audiovisual essay
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Audiovisual argument
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After the Liberation XL (NTR, NL 2014) • Linear narration as well as exploratory navigation • Navigation away from own platform
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TV News: from static to dynamic (Studenten-scenario UU, NL 2014) •
Selection representing a broader development
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Various entry points, details and overall picture
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Soul-Patron (Frederik Rieckher, Germany 2010) • Non-linear narration • Resisting easy navigation: slow watching
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Towards prototypes: axes of online publication Author’s narrative VIEW
The Battlefield of (in)visibility
Snow Fall After the LiberationXL
TV News Soul Patron
User’s narrative
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VIEW: Journal of European Television History and Culture • Selection of materials in relation to specific research question • Materials as illustration
Soul Patron • Broad selection of documentary scenes • Materials as building blocks
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‘The Roaring 'Twenties • Sharing a database of materials • Different levels of categorization
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VIEW -> focus on tekst; embedded AV; journal article Snow Fall -> linear textual narrative; supported by and
enriched with AV The Battlefield of (in)visibility -> audiovisual argument The ‘Roaring Twenties -> visualization of research; sharing of data After the Liberation XL -> focus on visual; limited navigation TV News -> text and AV, several points of entry Soul Patron -> focus on visual; complicated navigation
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Towards prototypes: axes of online publication Author’s narrative The Battlefield of (in)visibility
VIEW
Snow Fall
Textual TV News
After the LiberationXL
The Roaring ‘Twenties
Soul Patron
User’s narrative
Visual
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Towards prototypes: axes of online publication Author’s narrative concluding
experiencing
Visual
Textual
sharing
exploring
User’s narrative
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Tensions between traditional publishing and DH-approaches
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How to publish with AV?
VIEW guidelines: • text as a non-linear narrative; the readers as “viewers” • provide a stimulating headline • present the main statement / argument first • write in chunks; paragraphs contain one clear idea • use an active style; write in present time • think multi-media; photographs/AV are not “illustrations”
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When publishing with AV, ask yourself:
• Is your text leading or are your visuals leading? • How much freedom will the user get within your narrative? • Which source materials will / can you share? • To publish is to contextualize: which points of entry does the narrative provide? historical, geographical, material
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Discussion
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Academic rigor is not only demonstrated by footnotes, or by
the other conventional signifiers of “quality” in written scholarly work; it is equally visible (and audible) in capable and effective handling of audiovisual material and
procedures, in thoroughgoing and thoughtful approaches to videographic research. Catherine Grant, 2014
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