Draft abstract for SPERA Conference Keynote paper

Here's a thing - a draft abstract that was due yesterday. I wonder whether putting it up as a blog post works? Comments are most welcome. (If it doesn't work, I may end up taking this post down in sheer embarrassment!)

SPERA Conference 2008 Keynote Paper (draft abstract)
Creative use of new and emerging technologies at the Australian War Memorial

The Australian War Memorial is busy preparing itself, both via its website and within the museum itself for the Mobile Generation. Digital content consumed on our website and available on new wireless networks within the museum (coming soon, not there yet!) will increasingly become platform independent and much richer, moving beyond simple text and images to include sound and video files. We are also changing our own approach and attitude to be less institutional or didactic and more engaging and collaborative with our community.

Our role as one of Australia's oldest national cultural institutions and the experience we have gained in our recent history with new and emerging online technologies is certainly relevant to the education sector, families and the personal development of both teachers and students. Compared to some other institutions, we have a small amount of didactic content specifically related to certain curricula, and have plans to increase this. Generally, our content and information is designed to be accessible to all and we are now making it easier to find, use and re-use, which will also be of benefit to teachers, students and parents. So, it becomes valuable content from the social history, literacy and cultural perspectives and, we may also be seen as a useful model to teachers and students with some imagination and initiative.

I will discuss and demonstrate some of our most recent and somewhat brave initiatives to expose our content and to engage with new and much larger social networks such as blog readers, Flickr, You Tube and Facebook. I will also cover our initiative to migrate our in-house Australian military history encyclopedia's content to Wikipedia.org, in an attempt to engage with an audience of “produsers”. We believe that many of our younger audience are now more reliant on some or all of these more social platforms and networks for much of their information and knowledge that older generations used to gain from traditional media such as TV, radio, newspapers and printed magazines.

Some of these initiatives may be seen as simple on the surface, but for a large and somewhat conservative national institution with a trusted reputation to protect, they can be seen as risky. Many of our colleagues in like institutions are watching us with some fascination as some have not yet been able to take the same steps. We believe that it is becoming increasingly important for us to learn more about these new “many-to-many” conversations and developing “viral” networks. Our experience has been that we can only learn through involvement, experimentation and innovation. All of that obviously involves some real risk management, as distinct from risk aversion. So far, the returns have been overwhelmingly beneficial and sometimes surprising.

The challenge for us in all of this is to maintain our advantage. We are seen as and need to maintain our position as a trusted provider or credible and authentic, high quality content.

What will people pay for online?

As a former economist, I have long been interested in the new economic or commercial models that are emerging on the web. Many of us will be familiar with Chris Anderson’s “Long Tail” description of the niche marketing of online stores like Amazon. Well, here is another theory. It comes from another respected web pioneer: Kevin Kelly (who helped launch Wired Magazine and is still a board member of the Long Now Foundation).

Kelly has recently written up a post called Better Than Free and in it he offers us “eight generatives” that people will still be willing to pay for in the new web environment (”a copy machine”) where so many copies of everything are now available somewhere for free (eg. peer-to-peer networks, not that I’d have any idea what they are for!).

What he says is that even when some product or service is available for free, we are probably still willing to pay for it elsewhere when it is surrounded by or within an environment characterised by these qualities (which can’t be copied, cloned, faked, replicated, counterfeited, or reproduced). Here is a quick and dirty summary of Kelly’s article with my comments about how each one might apply in the museum world, in italics:

• Immediacy – Eventually you will be able to find a free version of just about everything somewhere, but it could take sometime. People still pay a premium for special air delivery import magazines, so in much the same way we value getting a copy immediately delivered to our inbox as soon as it is released, requested or created. Digital downloads by subscription where applicable and possible.
• Personalization — Generic versions may well be free, but getting something bespoke will always be something that some people want. Offering products like hand-crafted digital prints, very high resolution objects, or rare special copies/facsimile editions may be well received.
• Interpretation — "As the old joke goes: software, free. The manual, $10,000. But it’s no joke." I'm not sure how this applies to us because for many museums, particularly in Australia, although we have bucket loads of interpretation, the general expectation is that we provide it, as well as most quick reference services, for free online. Perhaps we need to look at paid subscriptions for well-written online publications?
• Authenticity — "You’ll pay for authenticity." Again, we can offer very authentic material and already have this advantage. More, better branding?
• Accessibility – "Ownership often sucks. You have to keep your things tidy, up-to-date, and in the case of digital material, backed up. Many people, me included, will be happy to have others tend our “possessions” by subscribing to them." I'm still not so sure about this generative: in some ways, we can get web services like del.icio.us and Google Reader to do such things for us, like looking after our bookmarks/favourites and blogs (respectively) for free. It also doesn't seem to be named that well.
• Embodiment — "At its core the digital copy is without a body. . . . The music is free; the bodily performance expensive." For museums I think this is about what else we can offer in terms of paid programs or experiences. Generally, major museums and galleries in Oz, charge only for special/imported exhibitions or "blockbusters" (except us). Perhaps it means selling or charging curatorial talks on the talks circuit. I do a few of those in relation to our Lawrence exhibition and a few other things, and so far they are all free!
• Patronage — Audiences probably want or at least don't mind paying creators. "But they will only pay if it is very easy to do, a reasonable amount, and they feel certain the money will directly benefit the creators." This applies universally for creators, including us, but we probably need to pay more attention to making payment easier and reasonable.
• Findability — "No matter what its price, a work has no value unless it is seen; unfound masterpieces are worthless." I like this one a lot and it is probably one of the most relevant to our cultural world where such a large percentage of our collections is not on permanent display. It should not be too hard to highlight, find and get our products and services - not too many gates or complicated registration.

Some of these eight qualities apply to us more than others and a few could be better described or have a different descriptor applied to them (like accessibility?). To the list I’d probably add trust and, like one of his comments says, usability. Most cultural institutions are trusted and we can take advantage of that, but usability isn't really a major focus - think of most of our unfriendly catalogues and systems.

OK, so I might occasionally use a peer-to-peer network for some music and films that are either impossible hard to get or far too expensive in Oz, but I also download a lot of material for a fee from iTunes and I’d agree that the reasons I do this are pretty well mapped out above. If we are to come up with a decent model to make money or even recover costs for certain products and services on our museum websites, we need to very carefully look at this article.

Key messages from VALA 2008

Some people don't have the time to plough through all this text, so I've been asked to put together some of the main messages that I picked up at VALA. I reserve the right to adjust these as I complete posting all of my notes. So, to date, I think the key messages that come to mind are as follows:

• The importance of pro-active engagement and interaction with the relatively new social networks that have emerged on Web 2.0. That is where the future will evolve from (very rapidly) and we need to be aware and involved to stay up. It is relatively risk and cost free. We should start making more use of engagement/interactive tools like wikis to develop and grow our own community (utilising the wisdom of crowds).
• Systems (on the web) need to be engaging and intuitive (not "must do") or they'll be avoided by users.
• We need to look at the ways we catalogue and who we are cataloguing for (ourselves). If you think of the Collection-Cataloguing continua it is something like Acquisition>Arrangement>Store>Keep - we are good at all of that, but we are not so good when it comes to the "providing public access via the web" (assisting our users to find and get) part. Our catalogues need to be fully optimised for search engines like Google, Yahoo and MSN. If we are maintaining systems that do not get the data out to the web because of some facility or capability that only we need, we should consider using a mash-up to account for those needs and simpler more open web standards for the essential needs of the public users. The use of persistent identifiers (particularly "canonical" URLs that in many ways are brief catalogue entries themselves) was a plenary topic that attracted much interest.
• Web services are increasingly being used and can provide almost anything. Slideshare is a good online example of an online repository in the Web 2.0 world. Much of the useful cataloguing (or tagging) is done by the extended community or network. Library Thing for Libraries was also mentioned quite a bit as being used by many libraries around our size (mainly to augment their conventional cataloguing systems).
• We must stay in touch with developments in Copyright and we should consider making use of the Exceptions in the Act to ensure they stay with us (this will be relevant to the WW1 non-OR digitisation project that we are just beginning - many orphaned and unpublished works).
• Regarding digital repositories - much of the experience so far has been in the universities storing research material. From them we learn that a one-size-fits-all approach (from the outset) should not be applied too rigorously. Needs and different requirements will evolve as the repositories are used and certain assets may have vastly different needs to others (eg. storage, metadata, etc.) Otherwise, the ECM itself may become a victim of "Gorbachev Syndrome" - swept away by a tide of change that it started and could not keep up with through its own inflexibility and resistence to changing with the times and new technological trends.

Making identifiers concrete

Here is a link to LukeW's good summary of Stuart Weibel's plenary that closed VALA 2008. I liked what Stuart had to say and my notes probably differ a tad from Luke's notes, but maybe I just misunderstood what Stuart had to say?

Stuart comes from OCLC and presented really well, leaving most of us with a new perspective on what could have been a dull a dry topic. I found his message easy to follow and quite inspiring.

Branding & Web 2.0
OCLC have released a report on the perceptions of libraries and information resources.
Libraries and search engines are trusted about the same.
People care about the quantity and quality of information.
They do not view paid information or free information differently.
Branding can be achieved by building on trust by making things look free. Scale is represented by libraries and their presence everywhere. They have global scope and reach (via networks?). BUT people need more awareness. We must be part of the new online environments that dominate our lives.
Social networking software. Only technical manifestation is new (we've always networked). Motivate people to tag, participate. Wired said 40% of those they interviewed contributed in one way or another. (Higher than Yahoo's figures.)
Re social consumer environments. Facebook, etc. are not just for games. But they are probably not the right models. There are lessons to learn though (OCLC has just put an application into Facebook). They are flawed – closed gardens, rudimentary features, but offer an experience as well as a service.
Libraries must compete and compare favourably with popular models (in Seattle books with coffee is the law!). But can we compete and should we? What can we do to fit in and how to distinguish between the trends and the trendy?
Catalogues – how can they change morph/grow? Networking. Collections linked to people, organisations, concepts, context, metadata, etc. (So I've just started an account on Library Thing to learn how this works.)
Do we need a web or scaffolding – do we want more – coherence, durability, etc.
Mentioned FRBR – works, expression, manifestation and item. But with other dimensions.
He said that for discovery on the web, a book review is more useful than a MARC record (I agree - how many people truly understand MARC records?). They are a social bibliography. He also cited: lists, services, commentary, etc.

Infusing bibliographic ideas into the web & vice versa?
First class objects need: persistent identifiers; access to all; stand alone status (identification & clear IP); and they are curated (not left lying around unintended - bit-rot!). Allow users to enter and traverse the catalog from any point!
Establishing a canonical identity on the web is very important.
See WorldCat identities. This should have been done ages ago. Tag cloud into popular Ids. Has stuff by/on author, works, links, encourages serendipitous discovery, associated subjects. All from bibliographic data.

Identities on the web
What characteristics are best in identifiers? There are no hard/fast rules – just suggestions. He thinks URLs need to reflect something about what they are. Make them meaningful.

Design criteria for identifiers
Characteristics:

• persistence (function of organisational commitment);
  
• universal accessibility & global scoping (work everywhere, open to all, WorldCat provides architecture for library assets mapping global surrogate to the local);
  
• optimised for search engines and canonical (raises search engine ranking);
  
• branding via URIs (mini-billboards);
  
• usability by people and machines – speakable, short, predictable (hackable).

This amounts to gluing the pieces together with identifiers.

WorldCat identifiers – are they good enough?
Unique, free, citable, resolvable, linked, canonical (no, not really). Some functional duplicates (more records pointing to same thing).

A glimir of the future?
A global manifestation identifier. Global, business neutral, canonical, provides URL equity, fits with FRBR model.
There are other identifier schemes. So, OCLC is cautiously exploring this territory.

Summary:
IDs are the key; they are needed for mission, to compete, brand, to bring bibliographic values to web, to provide services and access to digital tribe. Books not done yet.

See particularly his blog posts on related subjects (persistent identifiers).

Andy Powell asked whether he was talking about the semantic web. Stu supports it, but is skeptical about the technologies involved. He spoke of middleware as the plywood of the internet. It needs to become the plywood of our arena. He said the abstract model has fundamental importance on the web.

SLV - podcasts

After looking over their digitisation facilities, I had a look at the Victorians on Vacation temporary exhibition. It is an interesting exhibition with some very evocative images, but I found their online audio guide to be a good model for us. There is clear signage about it as you enter the exhibition and I asked the staff about their free to hire MP3 players. They are iPod Nanos (about $199 each I think) and visitors can borrow them for a photo ID. They've had only one stolen and for that one no photo ID was left - just stolen credit cards. They're pretty well used, especially on the weekends, but they only had a few to lend out. They say the use of the guides varies depending on the exhibition content, but they are expecting them to be popular for their next exhibition, The Medieval Imagination, opening in late March.