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De lezers van deze column weten dat ik niet onder de indruk ben van de wijze waarop overheidsorganen omgaan met informatie. Digitale archieven zijn bij een groot deel van de overheidsorganen niet op orde. In 2014 toonde ICTU dat al aan.

Bringing the Past to the Present.

The Internet’s dominant role in recent years has caused a change in the relationship between media producers, suppliers and consumers in the traditional media landscape. The cultural sector must therefore decide what to do with today’s digital media in response to the general public’s changing role, and for the purpose of improving accessibility. The use of multiple media resources and particularly resources like the Internet and mobile telephony seems to be inevitable. The only question that remains is: how? This paper addresses this question by focussing on social tagging and storytelling, and reports the results of an empirical study on tagging behaviour using the social tagging platform (see also Van Vliet et al., 2010).

The theoretical framework of the ‘archive-as-Is’

IknowWhatThisIs.

This publication gives an account of the Public Annotation of Cultural Heritage research project (PACE) conducted at the Crossmedialab. The project was carried out between 1 January 2008 and 31 December 2009, and was funded by the Ministry of Education, Culture, and Science. Three members of the Dutch Association of Science Centres (Vereniging Science Centra) actively participated in the execution of the project: the Utrecht University Museum, the National Museum of Natural History (Naturalis), and Museon. In addition, two more knowledge institutes participated: Novay and the Utrecht University of Applied Sciences. BMC Consultancy and Manage¬ment also took part in the project. This broad consortium has enabled us to base the project on both knowledge and experience from a practical and scientific perspective. The purpose of the PACE project was to examine the ways in which social tagging could be deployed as a tool to enrich collections, improve their acces¬sibility and to increase visitor group involvement. The museums’ guiding question for the project was: ‘When is it useful to deploy social tagging as a tool for the benefit of museums and what kind of effect can be expected from such deployment?’ For the Crossmedialab the PACE project presented a unique opportunity to conduct concrete research into the highly interesting phenomenon of social tagging with parties and experts in the field.

De digitale Kunstkammer. Cultureel erfgoed en crossmedia CELL Cahier # 1

In het Utrechts Archief is er een zaal waarin een film wordt vertoond van het straatleven aan het begin van de vorige eeuw. Als bezoeker word je bij binnenkomst gescand en vervolgens geprojecteerd in de filmbeelden. In het fotomuseum kunnen bezoekers middels fysieke hendels de selectie manipuleren van de 80.000 digitale fotos uit de collectie. Het Rijksmuseum biedt via een zogenaamde widget de mogelijkheid iedere dag een ander kunstwerk op je desktop te hebben. In TwentseWelle is een digitaal panorama gebouwd waar je als bezoeker middenin staat, kijkend naar een landschap vanuit het perspectief van opgejaagd wild. Stuk voor stuk zijn dit voorbeelden waarin nieuwe technologie en nieuwe media worden ingezet om het publiek te bedienen in hun interesse voor cultuur en kennis. In die zin zijn ze exemplarisch voor de ontwikkeling waarin technologie en nieuwe media door cultureel erfgoed instellingen worden ingezet om een belangrijke taakstelling in te vullen, namelijk die van cultuur- en kennisoverdracht naar het publiek.

Determining the value of a digital archive

Archives are, more than ever, organizational and technological constructs, based on organizational demands, desires, and considerations influencing configuration, management, appraisal, and preservation. For that reason, they are, more than ever, distortions of reality, offering biased (and/or manipulated) images of the past and present an extremely simplified mirror of social reality. The information objects within that archive are (again: more than ever), fragile, manipulable, of disputable provenance, doubtful context, and uncertain quality. Their authenticity is in jeopardy.The “Allure of Digital Archives” will be more about finding knowledge about the archive as a whole than about finding knowledge hidden in the information objects that are its constituents. It will be about determining the value of a digital archive as a “trusted” resource for historical research. To be successful in that endeavour, it will be necessary to assess the possibility to “reconstruct the past” of the digital archive. That assessment would allow historians to understand quality, provenance, context, content, and accessibility of the digital archive, not only in its design stage but also in its life cycle.In this chapter, I present the theoretical framework of the “Archive–as–Is” as an instrument for such an assessment. It is possible for historians to use this framework as a declarative model for the way archives have been designed, configured, managed, and maintained. It will allow historians to understand why archives are as they are, and why records are part of it (or not). Using the framework, historians can determine the research value of a digital archive as a historical resource.