Search results

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.

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

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

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).

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).

It Happened Tomorrow

It happened tomorrow is an artistic research contribution, in the form of video loops on CRT monitors, to the Warming Up festival at Tolhuistuin in November 2024. It was part of the Kunstroute, a program running from November 7 to November 10, where visitors were guided through a series of installations and artworks around climate change. De Gaetano curated a special collection of more than 400 videos from the open archives of Sound & Vision, including short films, documentaries, and news reports about different forms of (other than) human relationships with water in the Netherlands. In an ongoing series of workshops called “It Happened Tomorrow/ Reflections on Water,” still images from the collection have prompted students, artists, researchers, and policymakers currently based in the Netherlands to collectively speculate on future ways of living in a country with higher waters. Through individual and collective drawing and climate fiction exercises, people were invited to look at and expand on still frames from the collection as a way to imagine possible future landscapes, adaptation scenarios, and how to co-inhabit them with other species.These video montages explore and respond to the imaginaries generated during the participatory workshops and the narratives encountered in the audiovisual collection. Conversations from the workshops informed the textual captions on the videos, which take the form of fictional letters from an unknown researcher travelling through the Netherlands in 2124. Following Ursula Le Guin Carrier's bag theory of fiction, the audio-visual assemblages propose non-linear accounts of possible futures, open-ended and without heroes. Generative AI takes the role of co-fabulator in queering the boundary between past and future, human and more than human, giving shape to tiny climate fictions that question how we look at nature and how we can reimagine ourselves as part of it.