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Wow. They digitized in the 1980s. And Erway thinks

\n

\"our efforts were not making an impact. Innovative at the time, our gorgeous, expensive, hand-crafted websites attracted very few users. Times are changing and we need to keep up\" (325).

\n

He notes that Richard Ovenden (special collections keeper for the Bodleian) says that institutions have to think about what makes their institutions stand out (or special collections).

\n

\"Yet ironically, special collections run the risk of being marginalised. If they are not accessible, they are not used; if they are not used, they may go away. Neglect can lead to obsolescence\" 325

\n

\"so many of our special collections are hidden, unprocessed in boxes in warehouses. No one knows what’s there.'325. . . UNPROCESSED = ABSOLUTELY HIDDEN. . . .AND EVEN PROCESSED MATERIALS CAN BE HIDDEN

\n

Recommendations from the Digitisation Matters discussions

\n\n

Where are our users? The 2008 Web Trend Map5 shows the 300 most visited sites where our users are going. Amazon, Yahoo, Google, Wikipedia, and YouTube are dominant, but they are not overwhelmingly dominant. However, there are no
libraries in this picture. No OCLC, no JISC, no TEL … What does their
absence tell us? The environment is dominated by large-scale information hubs. Users bypass the authoritative content of libraries in favour of just-in-time information from sources more convenient to their daily networked lives. Discovery happens elsewhere — we need to be there 328

\n

 

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def=“archive” has come in the modern era to refer not just to public records but also to the entire corpus of material remains that the past has bequeathed to the present. . . It also refers to the institutions that house and preserve such remains

\n

prob and goal = In all of these meanings, archive connotes a past that is dead, that has severed its ties with the present, that has entered the crypt of history. The essay explores the ways in which Internet 2.0 offers new possibilities for institutions of memory: novel approaches to conservation and preservation based not upon limiting but multiplying access to the remains of the past; participatory models of content production and curatorship; mixed reality approaches to programming and informal education that expand traditional library and museum audiences; and enhanced means for vivifying and for promoting active modes of engagement with the past.

\n

history of archival institutions is that they have led a double existence --repositories that store, preserve, stewaard and sites of access and presentation--with the second subordinated to conservation and with specialists having higher access than non-specialists

\n

physical presence is the norm

\n

 

\n

Web 1.0 was embraced by museumsas a \"functional double of the paper remains with which they have traditionally supported on-site visits\"

\n

upsurge of virtual repositories started to chip at the walls

\n

Web 2.0 accelerates changes. . .

\n\n

Uses examples from his Stanford Humanities Lab to come to five broad conclusions:

\n
    \n
  1. new environment which a) open source repositories increasingly the norm, b) audience expect increasing off-site access, freedom to distribute and modify materials, and c) augmented modes of experiences of cultural objects
    2. \n
  2. participatory media will interpenetrate both service to community and collaboration across institutions [more my words than his]. . . denaturalizes location
    3. \n
  3. emerging informational landscape intermingling mixed and augmented reality
    \"Imagine 1,000 regional history projects structured by professional historians and coordinated by regional museums and research libraries, but in which the vast bulk of contents are assembled and piped in by members of the public only to then be organized into constellations of touring micro–exhibitions such that the entire community becomes an extended classroom.\"
    The memory palaces of the 21st c will have more permeable walls
    4. \n
  4. past=more focused on product than process. . . finality of print. . . \"a turn towards process both multiplies opportunities for building bridges between the intra– and extramural realms, and expands the nature of programming. It contributes to the transformation of institutions of memory into not just producers and “deliverers” of finalized contents, but also into laboratories where, much as at the San Francisco Exploratorium, “stuff” is always happening that anybody can watch: stuff that invites observation and participation — thinking, commentary, conversation, construction, play.\"
    5. \n
  5. the present toolkit doesnt predict the future
    6. \n
\n

 

\n

Uses a collaborative archive project by Casey Alt to conclude:

\n

In other words, the name of the game here is participatory archiving: archive yourself or, as I’m calling it, archive you.

\n

 

\n

Uses example of 2nd life animation to conclude:

\n

In other words, the name of the game here is participatory archiving: archive yourself or, as I’m calling it, archive you.

\n

 

\n

 

\n

 

\n

 

\n

 

\n

 

\n

 

\n

 

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Flickr Commons provided a safe and regulated space for the Smithsonian
to engage in this online experiment.

\n

Their photographic collection is dispersed ... a federated institution (14 museums, 7 research centers, national zoo, outreach programs) with all groups holding collections and all groups having autonomy withing their unique missions

\n

estimated size of all collections = 13 million images

\n

Smithsonian Photographic Services (SPS) manages the website and interfaces with requests for images

\n

SPI started in 2001 to increase public engagement, in 2006 formed Digitization Steering Committee, in 2008 joined the Flickr Commons project after the Library of Congress did

\n

Smithsonian Content Participants at the time of the June 2008 launch included:
• Anacostia Community Museum
• Archives of American Art
• Center for Folklife and Cultural Heritage
• National Museum of the American Indian
• National Postal Museum
• Smithsonian Institution Archives (includes the SPS collections)
• Smithsonian Institution Libraries

\n

Content Participants added subsequently (through May 2009) include:
• National Museum of Natural History
• National Portrait Gallery
• Smithsonian Astrophysical Observatory

\n

 

\n

Lessons learned

\n

Content is king, or maybe it's really culture

\n

 

\n

New uses for new communities

\n
    \n
  1. tagging. user generated terms (learn from del.icio.us)
    2. \n
  2. machine tags. this metadata allows harvesting by other projects
    3. \n
  3. wikipedia. picked up by it, particularly portraits
    4. \n
\n

Usage statistics are being captured on a regular basis as part of the Flickr Commons project. Summary statistics (from 16 June through 7 December 2008) show that there have been:
• Total views of all photographs, etc.: 627,259
• Most views, single image

\n

 

\n

Theyre very happy

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Historical video games, in other words, replace representation with simulation and presence with virtuality, thereby marginalizing the oscillation of the modern historical imagination between historical facts and historic events, transcendence and immanence, representation and presence

\n

 

\n

Begins by imagining how \"Holocaust II\" [a fictional video game] might allow people to experience the holocaust in the shoes of different roles.

\n

\"It projects a digital-interactive fantasy that I consider successfully “historical”
insofar as it would probe the ethical-aesthetic limits of both literal and figural
representations of the Holocaust, and would respond to some key challenges
that video games pose to our “scholarly assumptions” and to modern historical
culture as a whole.\" (104)

\n

Certain aspects of linear history would be remediated, he claims, but would not disappear.

\n

Essay asks: how do interactive media affect our conceptualization of historical consciousness itself? (106)

\n

\"digital technology may have already produced a reconfiguration of what we mean by \"historical\" in the first place\" (106)

\n

calls on Ayers 1999 observation that digital can be used to reconfigure linear narratives along nonlinear paths. . . e.g., maps can be organizing structures (portals into \"the\" narrative). . . though notes little has been made of this yet

\n

According to a recent dissertation on the topic, “Overall, digital technologies have defined the twenty-first century archive in several ways. They have: 1) raised new preservation challenges; 2) augmented the volume of collected records; 3) given added privilege to the nature of the search engine itself and its selection parameters; 4) increased outreach; 5) eased the process of professional archival research; 6) improved the practice of photographic restoration; and 7) allowed the integration of localized forms of knowledge.” Lucia Ricciardelli, “Visual Culture and the Crisis of History:
American Documentary Practice in the Postmodern Era” (Ph.D. dissertation, University of California, Santa Barbara, December 2007), 48.

\n

 

\n

Agrees with Cook and Schwartz that online archives encourage a change in practices. . . a performativity at a wider level. . . a democratization of history through a widening of users . . .brings up the September 11 Digital Archive's democratic collection process

\n

Backtracks into the modern conception of history, linking it to Kant's Contest of Faculties (1792) in which Kant argued that \"the French Revolution\" represented \"a signum... that demonstrated retroactively and for all futer time the transcendental and progressive nature of the historical process. Thus Kant gave philosophical articulation to the idea of 'historic-ness,' discursively associated with 'speech,' 'site,' and 'event.'\"(109)

\n

The 9/11 archive started with the request that visitors add. . . rather than signifying the event, it asked for \"facts\" continuously, refused to narrativize, to constitute. .  . It \"could not be more counterhistoric\" (109)

\n

and Fogu sees the FAQs requested of visitors as an alert to the re-semanticization taking place under the sign of the digital.

\n

\"On the one hand it affirms the idea of history qua experience that reifies facts into “FAQs” as if they were a footnote to what counts as historical, that is, the experience of onlookers [109] qua experience. On the other, it brings forth a new notion of presence that is neither immanent nor transcendental, but properly “virtual” because it calls attention
to the act of witnessing and its digital dissemination, rather than to the rhetorical construction and perception of “real presence” in the act of representation. In so doing, the archive also signals a profound transformation in the rhetorical code that sustained the oscillation between the historical and the historic in the modern historic(al) imagination.\" [110)

\n

 

\n

He then moves to the rhetorical construction of presence in the narrative.

\n

links it back to enargeia (vividness or palpability) in Greek [Thucydides)

\n

to evidentia (link between effect of presence and signification of historical truth) in Latin

\n

enargeia-evidentia sustained the power of images in both Christian-Western culture and in historical representation

\n

Connects presence with historical movies. . . then brings up new immersive experience in cinema through 3-d, motion simulation, IMAX . . .and the new Digital Roman Forum

\n

Which allows him to return to his imaginary game from the start of the article

\n

He looks at Sid Meier's \"Civilization\" (he works off Civ3). . . because it claims to \"rewrite\" history. It evolved from a board game

\n

develop against rival civilizations over a 6000 yr span. . . develop has options: eliminate, destroy, conquer. coloniza, control, trade, build a space ship to Alpha Centauri. . .or just get the highest score

\n

but it stays inside certain historical realities (pictures, names, in times). . .playing in \"what-if\" mode by constructing scenarios against both historical reality and historical plausibility

\n

Critics and laudators downplay a rewriting that this game introduces. . . a destabilization of the referent h/History

\n

1. last objective = escape to Alpha Centauri. . . have many variables. . . those above, personality traits for characters, economic and political systems. . . BUT only 80 technologies and an \"indisputable ideological kernel which identifies it as quintessentially Western-American creation. It projects an image of the civilizing process characterized by technological determinism and progress.\"(117)

\n

2. masterful exercise in what Bogost calls procedural rhetoric.  you build through rule-based representations and interactioins to the winning strategy. . . learning the procedural code of the computer

\n

. . . this demonstrates video games as born from a pure act of remediation (119)

\n

3. videos games have shifted into cinema. . . which I guess horrifies him because he is in Southern California

\n

 

\n

 

\n

 

\n

 

\n

 

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Katz, \"The Gathering Cloud:Is This the End of the Middle?'

\n

Ten Threads

\n

1. The academy is an artisan community

\n

2. Academic practice is organized around scarcity

\n

3. The academy is a place

\n

4. Academic governance has devolved

\n

5. Academic activities are bundled

\n

6. The academic mission has three parts

\n

7. The academy has become more accessible

\n

8. Openness pervades academic inquiry

\n

9. The academy's range is growing geographically

\n

10. Scientific research is a catalyst of accelerating change

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