Librarians, active content creation & going beyond what is expected

Active Content Creation & Collecting

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In early May 2010 I gave a talk at the State Library of NSW to a meeting of reference librarians. Ostensibly it was to talk to a series of images that I took while making a curatorial visit to Iraq for the Australian War Memorial in late 2008, but I thought that I'd put that trip in context by discussing why I think getting curators, archivists and librarians out "into the field" is important. So here is the gist of my talk. The embedded slideshow above should be viewed with this outline of my thoughts.

I wonder whether we are too passive?

I also wonder whether we are we too obsessed with how technology works (and not really using it to its potential)? Everywhere we talk about data mash-ups, catalogue improvements, better discovery & search tools, mobile platforms, cloud computing and digitising content. All of these things are worthy of our attention but surely there is more we can do aside from using technology better and there are other more fundamental tasks to focus on as well. Also, as far as technology goes, is the tail wagging the dog? Have we already lost control?

I'm sure most of our users and patrons all not be satisfied by cultural institutions that simply present and ever increasing echo chamber or a means of reflecting user-generated data. I think they want and expect more from us than that.

We can create and we must also be more proactive in collecting and developing our collections to reflect contemporary content, not just what has been collected by those who came before us. It isn't sufficient to rely only on subscription services and commercial publishers.

My inspiration for these thoughts comes from other things that I see and hear about. Generally it comes from those who do create and perform, for example, the Australian Chamber Orchestra. Recently they again dazzled audiences around Australia by mixing pieces from more recent composers (Shostakovich, Shoenberg and Pärt) within Bach's Missa Brevis in G Minor. It worked for me and I think it provided another way to interpret and enjoy Bach's older work. The performance seemed to breathe new life into this work. The ACO constantly push boundaries and collaborate with cartoonists, writers, actors, and modern singers in order to keep their audiences both surprised and delighted.

Surely we can take a leaf out of their book and do what is not expected of us nor taught to us. Something more. Something beyond the rules. Not more of the same. We need to get beyond our traditional boundaries.

We need to create and to facilitate or encourage the creative talents of our patrons by modelling that behaviour ourselves, not just by providing the technological tools and spaces, nor by just digitising what was collected by those who came before us. We also need to get out there and collect contemporary content now from each of our "communities" whether they be an institution, region, small town, state or nation.

It will be good for us: being fun & playful; being a rich new experience; uncovering hidden talents; and by making our profession more interesting, stimulating and attractive. It should also delight our patrons. We must play out instruments and ride our bikes, not just leave them aside, locked up in a safe place.

So what are some of the options are available to us now?

• curating exhibitions;
• writing & story-telling - online and traditionally;
• actively collecting (not just contracting it out);
• facilitating online open access publication (particularly for academic libraries);
• hosting digital repositories;
• running film and short-story festivals, poetry slams, readings & other competitions;
• facilitating community cultural projects like co-curation projects;
• producing, directing and finding sponsors for artist/geek/writer/gamer/musician/visionary-in-residence programs;
• producing and editing online magazines;
• creating local content for our library collections (film, audio, music, games, animations, photo collections, even artists' books) - and this can be done with what makes your community different or unique, just as the AWM's focus is on Australian experience of war, yours might be an industry, local pioneers or veterans, immigrant families, famous families, a factory, an institution, craft, a crop, farms, etc.;
• producing photo essays;
• hosting travelling exhibitions; and
• exhibiting (not just displaying) our special collections.

So, now to talk about my collecting visit in Iraq and the in 2008.

It may not sound relevant to reference and information service librarians in all kinds of libraries, but it is all about asking for what you want (to do), grasping your chances when they come and creating content yourself.

We (i.e. my senior curatorial colleagues in our museum) had been asking to send curators and archivists to the field for years, so when the opportunity presented itself, I had very little time to prepare for it and there was no time to stop and think about whether it was wise, safe, advisable, practical, the right thing to do, in my duty statement, feasible, etc. I just went.

There were no rules or guide books. Other than some general telling me to "do as you're told!".

The Australian War Memorial obviously has a strong focus on its own community and works very hard to maintain trusted and respected relationships with its key stakeholders and their representatives. It knows its core business and as a library/archive we needed to get more strongly aligned and involved with that.

We had set up and run collection groups focusing on the Australian Defence Force's recent and ongoing operational commitments overseas. A subset of this was an official records working group looking at the challenges of ensuring a lasting record of war was being made and kept in the digital age. First, we had to identify what that records was and update our knowledge and processes from the Vietnam era! Since then all trains had changed on all platforms. This was impossible to scope from Canberra by meeting with a group of archival bureaucrats.

We had a couple of things on our side (eg. AWM’s reputation, my security clearance), but essentially I had to quickly learn how to select a “target” (no pun intended), get in someone’s face, establish trust, ask relevant questions, cover rights and permissions, grab and/or create something and then keep going.

Generally speaking, not many of us are trained to do all of that and we hardly ever practice it, but I can think of many reasons we should.

Somewhere, someone realised that the end of 2008 was probably going to be our last opportunity in Iraq and Northern Gulf waters to identify what we wanted as a record of years of Australian involvement. We didn't know what there was nor what it looked like.

Over the course of the trip, there were many amazing opportunities that presented themselves and I just needed to take them when they were offered.

Some libraries are focusing on the creation of content (e.g. the Edge at the State Library of Queensland) and I think this is a good example of something feasible for all librarians if they can think beyond the norm and of the possibilities that are easily done now for digital story telling, taking and sharing images and small oral histories (from just local events and local people). All we need to do is get started.

accessCeramics: digital image collection using Flickr

Mark Dahl's and Jeremy McWilliams' presentation on accessCeramics was probably the most inspirational session that I attended at Educause09. I am an unashamed fan of Flickr and its possibilities and Mark and Jeremy explained just how they used it to its full potential. Many of us should be following their brilliant example as it shows just how an institution can use a Web 2.0 service to facilitate a collaborative project. You can see all 53 slides for yourself in the presentation link above. These cover: the history of the project, how they did it, who was involved, cataloguing issues, enhancements, lessons learned, gains, costs and future plans. And they are now using Twitter (@accessCeramics) as their news feed: another great idea.

Having been involved in a more traditional (i.e. expensive, never ending, painful and frustratingly complex) DAM program in a large museum recently that used commercially sourced software, I found slide #48 particularly illuminating. Yes, they had hurdles too, but nowhere near the issues endemic in the traditional models.

Recently, we've started discussions about a community-based project to develop a special collection as part of the UTS Library. We will certainly be looking very closely at accessCeramics.

Miscellaneous connections

Miscellaneous Connections

View more presentations from Mal Booth.

I gave this presentation late last week to the ANZ Society of Indexers for their annual conference. It was meant to stimulate some thought about recent developments on the web and also within institutions. Maybe the following guide will help to interpret some of these slides.

SLIDES 2 & 3 (Connection)

I used these slides to draw a connection between myself and Hazel Bell, the other plenary speaker (by video from the UK). She indexed the first publication of T.E. Lawrence's Seven Pillars of Wisdom (1992 text) when it was first published by Jeremy Wilson in 1997. That text is over 80,000 words longer than the 1926 text that most people would be more familiar with and the index was invaluable to me when I curated a museum exhibition on Lawrence in 2006-08.

SLIDE 4 (Collaborators)

I am really grateful to those named on that slide as they raised my awareness and gave me new perspectives on a number of issues. We mostly used Google Docs to share comments and observations.

SLIDES 6-8 ("Indexing" the web)

Here you can see the influence of David Weinberger (Everything is Miscellaneous) and Cory Doctorow regarding the application of non-web protocols, classifications and restrictions to the web. We cannot attempt to index or classify the web in the same way we would for a book or a collection of physical objects. It isn't going to work and it isn't necessary.

SLIDES 9-11 (Connect, share & collaborate!)

Yes, connect and integrate our existing taxonomies and indexes with those available on the web. I'm not suggesting that we throw the baby out with the bath water. Folksonomies work best with taxonomies. We need to realise that what works best in web systems like iTunes, Flickr, LibraryThing and Delicious is their ease of use. You are not forced to spend days laboriously adding metadata to fields that you don't even understand. LibraryThing and iTunes draw or harvest open metadata for us from other sources. We can then add our own tags, and in some cases even comments, links and reviews.

SLIDES 12-15 (The power of sharing)

Social media allows us to share everything quickly and easily. Gary Hayes' Social Media Count brilliantly displays the amazing dynamics of social media as you watch. In 2008 I was able to share images from a world championships being run in Hawaii to the world while the race was still being conducted. Our collection management systems in cultural institutions are not that adept. So maybe we use them in conjunction with image sharing platforms like Flickr or Picasa, or maybe we just chuck out these cottage industry systems and start again, realising the importance and scope of digital media, and going with systems that are intuitive, easy to use and much less cumbersome? Even software is now being shared and users are collaborating with each other to improve it. People are also still busy having their say in blogs and using clever RSS readers to help them to read what they choose to read and not what newspaper editors think they should read or what TV news rooms want to sell them.

SLIDE 16 (Authenticity)

The web is often criticised for being unreliable. But just because something is published in a magazine, a newspaper or in a book does not make it always reliable or authentic. Even peer review is not completely reliable. So we've come up with new ways to measure how much to trust each other and judge authenticity online. eBay and craigslist are great examples of this and they've been so popular that they've effectively robbed newspapers of much of their classifieds revenue.

SLIDES 17-25 (Institutions & sharing)

Cultural institutions are realising that they need to get out there and connect with their users on the web. They cannot wait for people to come to them. The clever institutions are making their web data easily findable and easily used. Mashups are growing. These are just a few examples.

SLIDES 26-27 (UTS Library - now)

Open everything seems to be the way of the future, so with UTSeScholarship we are heading in that direction. We are also using social media to connect with our clients where they might begin their searches and to engage with them.

SLIDES 28-35 (UTS Library of the Future)

These slides present a quick tour of some of the plans we have for our future Library. We are going to put approximately 66% of our physical collection in an underground Automated Storage & Retrieval System adjacent to our new Library building and that will allow us to do much more with our physical spaces in the Library itself. (The rough dates are only indicative.) Some of the elements we are looking at will be stimulated by developments well outside traditional library and academic environments.

An old but still relevant rant from Bruce Sterling

Recently, I found the text for an internally circulated article that I sent to some colleagues in the museum I was working in. It dates from March 2007, but some of the statements are still relevant today, so with a small amount of updating, I'm re-posting it here as maybe some of those new to this environment missed what Bruce had to say.

I remember being impressed by the amount of live web coverage coming from SXSW 2007 including a website full of content, papers online, podcasts, blogs, flickr sites and online videos.

Furthermore, I thought about what this means for us down here in Oz where we are soooo far away from all these hip conferences about new stuff. The web is finally making these far-away conferences and even some courses more accessible to us and it seems to still be mostly free. Those who truly understand what it is about also understand that to get the message out there, you don’t lock it away on pay-per-view sites or member only networks. You share it for free and maybe include some ads that hardly anyone ever clicks or views. At least that’s the way I see it and the whole new web culture of sharing, i.e. sharing valuable, new knowledge and even some wisdom, still amazes me.

So, later that day, in need of some inspiration, I listened to a keynote rant from a guy called Bruce Sterling who was then a Visionary in Residence at wired.com. The podcast was already available on the SXSW website and while not all of it is directly relevant to the work of a cultural institution, some of it was and still is in a conceptual sense if we are to understand the world we are now part of (particularly given the large investment already in most museum websites). I knew that not many of my then colleagues would ever listen to the whole podcast (an hour long), so I jotted down these notes from it as I listened:

Bruce mentions RFID in the SXSW participant wrist bands, but doesn’t ever allude to what they really used RFID for apart from the obvious. (RFID tagging of items like conference delegates, triathletes and baggage at airports has moved on a lot since then, but that is a whole other story, so lets not go there now.) He then refers to “2007 – the year of video”. Sterling calls it a stoopid medium, especially in TV which really is a wasteland. And the vested interests from TV-land are trying to step on the net, but he says it isn’t going to happen.

New trend drivers are emerging.

Three in particular are worth discussing (Prof) Henry Jenkins and convergence culture; Yochai Benkler who wrote The Wealth of Networks; and Lev Manovich and his Soft Cinema – hybrid media. These blokes have cultural, legal and media studies backgrounds, but they talk the same language. They talk in an analytical policy vocabulary – about a new method or approach to increase peoples’ wealth.

On the web information is free and it wants to be free. You are charged nothing and don’t have to click the ads. It is available to anybody and it is incredibly powerful and growing right there in front of you. The first world is the global market – capitalism and the market world as we know it. The second world is all forms of government. The new third world is common-space peer production – not communism, not the state and not the market. It is really growing fast and having profound effects. We use ‘Google’ as a verb now. It is also about ‘Not-For-Profit’ stuff. The fourth world is disorder and where they don’t have any of this.

The new third world is more powerful than we give it credit for, but not necessarily a good thing yet. It is a new thing. Benkler’s and Jenkin’s arguments are fearsome, but the new networks may not be as fragile as they think – they are pretty resilient. Take for example Craigslist – he isn’t a business mogul, he is mild and low key guy from San Francisco and not really interested in business. He just wanted 200 million friends. But he has gutted the revenue streams of major newspapers (i.e. classifieds)! He has no business. (My comment: Some of these networks and start-ups are now being acquired by bigger predators though and will someone like Murdoch or Yahoo eventually acquire craigslist?)

‘Peer2Peer networks are turned on and they out-shift anything else ever built without a dime changing hands.’ This world is still vulnerable to charlatans and rip-off merchants. And there are down-sides to too much ‘fan involvement’ in art.

Mashups – of video & sound.

Are they really a tremendous source of creativity? They won’t last 10 years. They are novel (now) and have no staying power as music. They are not tremendously creative works. It is new and has an audience, but it isn’t a cultural advance.

Lev Manovich talks about soft cinema – digital tools are melting all media down into a kind of slum. It is all merging and distinctions go with powerful compositing tools. Effects are becoming the means of production. All pieces are sent to a compositor, like in Hollywood films. Different flavours come out of the same mixing machine. There are different windows to the same media. Does everything need to go through this ‘media blender’? It is a new capacity, but isn’t necessarily any better. Electronic art stinks. It is interesting, not great. Ease of production? E.g. deviantART. Sure it is folk culture, but it is for hicks! We need a new form of media criticism. Film media, literature, music are all just going away and there are new realities, but they are not that good.

Now there are some 55 million blogs and some are good? Well, no actually. He would be quite surprised if any exist in 10 years. (And if it is true that blogs are that ephemeral, some cultural institutions like libraries and archives better start archiving those relevant to their collecting guidelines sometime soon!) They may be best as platforms for the development of something. ‘They are like watching yourself get beaten to death with croutons’ – and they’re not that potent a media. They’re also not fine art. The usual discourse is like three paras, an embedded video, some hyperlinks, flickr sets, Digg and social book-marking links, etc. Is it done well or badly? Is there any web design critique that could be applied to it to say whether it is done well or not? Sterling (a blogger himself) says it is an unstable media not aspiring to greatness. A word-of-mouth kind of culture.

Is it good to turn on the ‘information factory’ and leave the room? It is machine expression and needs to be understood as that. ‘Semiotic pollution’. The worst is spam. Gibberish. Imagine if that happened on TV or in a movie theatre!

Reed Hundt – a US intellectual and lawyer, who is very weary looking. Disenchanted by Federal Government, he is now in private practice. He was involved in auctioning spectrum (just like we are doing here in Oz). And he has a mad scheme to steal broadband and sell it (as gifts) to police, public safety authorities, etc. He wants to take it from broadband TV. Broadband TV is for shut-ins. Broadcast TV is a lower end evil medium. It was bad before American Idol, but now there is no budget to put on decent stuff. It is junk. He wants to put the net over TV as b-band Internet. It would reduce distinctions between the different media forms. There is no technical reason to not do it. It would change major stuff. It needed a ground swell of support and Hundt was trying to do it with public-safety and security services – cops, firemen, etc. The US would then leapfrog to the top of the national broadband rankings. He has a rather dull website and he used to run a blog.

Yochai Benkler – social networking and what it takes to build a third kind of production system that harnesses productivity, creativity. They need thoughtful engineering and some care. He puts forward a method for socially motivated common-space peer production:

• divide up the work – there is a lot to do, suck helpers in


• the work must be granular, modular (projects) and ‘integrate-able’ (all adds up to turn into one thing that really achieves something) – not seen much in other lines of work, not business, even government


• be self-selective – people chose to join in (people come out of the wood-work)


• have an in or out mechanism (like a two-way membrane)


• have a communication platform to talk to each other, fast & efficient


• humanisation??? (not further discussed)


• include trust construction – has to be built, confidence building (very important)


• someone has to think about what is normal, acceptable behaviour and create that


• transparency – so motives are not questioned


• monitoring (a police force of sorts to prevent someone attacking the system – hackers, thieves, etc. because the Internet is a savage world)


• peer review (who is good at stuff?) – a motivator


• discipline (an Achilles heel of all Internet efforts)


• fairness (will ‘the intelligentsia exploit the helpless proletariat?’!) – Wikipedia and Digg don’t pay people! Things that were formerly professions are now falling apart on the net and are no longer business, they are melting like the Arctic


• institutional sustainability – who knows how long it will last (e.g. Slashdot) – what is the legacy plan, what is needed? The hardware is radically unstable!

Benkler doesn’t talk about some unpleasant extremist forms which might appear to have all of this licked! We can all think of extremist organisations who might be doing much of the above, but perhaps without the transparency and with a different take on humanisation and fairness? Maybe they are proof of the potency of this form of organisation?

In order to make this work, Benkler says that we need to understand that computers are platforms for self-expression rather than well-behaved appliances. Computers really stink as appliances. They are painful to use, always in beta, etc. Well-behaved appliances kill self-expression and common space peer production. Something that barely works can become a common space peer production factory!

Benkler distributed his book (all 500+ pp!) in pdf format and then he opened a wiki for everyone to help him explore this issue, but there was nobody there. It isn’t easy to be as smart as he is! It was just a vast echo chamber. You can open stuff like that, but it doesn’t mean they come in and if they do it doesn’t mean they’ll be useful. Sterling says he could not help him. It is an interesting issue.

Sterling closed his rant with a poem about serenity and a sense of fulfilment. Perhaps it was about life not on the web? It was a bit of a stretch for me . . .

Digitisation for dummies

This is great. Brewster Kahle speaks well and from experience. It isn't an academic theory. I like the way he breaks down the challenge into a manageable, fund-able, do-able program. Some other observations that made me clap and cheer wildly:

• Boston Public Library's "free to all" statement that is carved in stone & that of the Carnegie Library "Free to the People" (do we really want to be different when we push our content online?);
  
• producing the best we have to offer;
  
• not sending stuff you love to India for scanning (we didn't either);
• aiming at US$0.10 per page, or as he says the same cost as Xeroxing;
• not scanning pages that will end up looking like a fax (or worse still a print-out from microfilm) - scan in colour for the look of the book;
• the convergence of, on one side the library world (starting with out-of-Copyright and out-of-print material) and on the other side the publishers (eg. Amazon) starting with what is currently in print; and
  
• favouring public (free, universal access) over private (locked up) digitisation programs (me too).

So, watch this for yourself. Even if you are not looking at digitising books, there is a lot in it. TED.com hits the mark yet again.

Libraries and building communities

These notes come from a talk I attended earlier today at the National Library of Australia on building online communities. The speaker was Chrystie Hill, Director of Community Services at WebJunction.org, from Seattle, WA.

It was interesting to hear about her journey as she spoke using stories, and didn’t just regurgitate facts.

She spoke of the shift in services for things like reference – both physical and in the virtual world. She experienced this when being educated. She has worked in the Seattle Central Library and says that the space is now much better to work in. Then she introduced her four seminal realisations (my term, not hers):

See The Great Good Place by Ray Oldenburg is about connections between people: pubs build communities.

She also spoke of John Seely Brown and The Social Life of Documents (on FirstMonday): documents build communities.

And Bowling Alone by Robert D. Putnam and the decline of civic engagement & social capital in US: capital and networks build communities.

Is your library relevant to you (& your needs)? She said hers wasn’t (at the time) and her most important need was to know what her friends were doing: individuals build communities.

Libraries were not accepting their role as community builders (maybe they still don't understand that role at all?). But US public libraries became carriers for public Internet access in the 1990s. Eventually home and work use of the Internet also grew. People soon began to find themselves on the web – publishing, subscribing & sharing. It became a story of communities and collaboration on a scale never seen before. Now libraries (& librarians) have to be involved to stay relevant. It is about conversations. It is about people who are saying “here is what I am doing”. People sit behind all the tools and experience. It is also about what your friends are doing. So many tools are now available that it can seem overwhelming, so step back and look at what is behind it all.

So, where is the library?

People are finding their own answers easily on the web themselves. Library use is going down while use of email, online bookstores and search engines is going up!

Can libraries cope where the stuff isn’t completely organised or controlled? Probably not. Many public libraries are closing in the US because they lost their relevance and then they lost their funding. See Content, not Containers (an Information Format Trends report from OCLC, 2003).

Do libraries just = books? Do our users think of us for other information needs? Do we just stop making it feel like church?

She then went back to the new Seattle City Library (image appears above in this post) and said it is what a library should look like (if only!). Real visitation went up 300% in its first year. Public access computer use quadrupled. Its spaces are very inviting and its services are very innovative: multi-lingual programs; online assistance; teen services (via MySpace) – with 50% boys participating!. They are building communities daily and get 1,000s of teens involved.

She said we must do better jobs in all libraries. Online tools help us to see our roles as connectors, facilitators, and community builders.

Currently, Chrystie is writing a book and blogging (one of several). She spoke for a while about the work of Webjunction.org – helping to build relevant vibrant, sustainable libraries in every community. Most content comes from members and partners. All of it is wrapped around social engagement. Public access computing and personalisation services were key to this and to building real communities.

What do they do?

They connect, create and learn:

Connect: using wikis, del.icio.us (others follow this without it being promoted, they just find it – they just use one tag to share stuff for all, eg. we could use AWMWSG or AWMRC), micro-blogging (they use Twitter), phone, Flickr groups, Facebook groups and events, and alternate spaces (eg. LinkedIN, engaging widely!)

Create: blogs and wikis, blip.tv (I suspect schools might find this easier to find than our content on www.awm.gov.au or our blocked content on YouTube), and staff are encouraged to contribute elsewhere (blogs, publications, etc.)

Learn: active learning is encouraged, staff/members are surveyed - What was your greatest achievement last year? (part of bi-annual member survey on webjunction.org – results were visually presented in a tag-cloud), speaking engagements, blogging internally and externally encouraged for all staff.

So what does this mean for us at the Memorial? I think we are heading in the right direction. We are not there yet, but we've made a good start and even though we might complain about some restrictions placed on us by out IT staff, they have already facilitated much more freedom and innovation in our organisation than many, may others (judging by the tone of questions asked of Chrystie). Our management too have been both supportive and visionary. How many national cultural institutions can boast that they now have these words as their first listed corporate priority for the 2008-2011 period: "Enhance online access through use of emerging web technologies and improved web content"?

Using iPods in the Museum

I heard an interview (online) today with Chris Alexander from the San Jose Museum of Art. They are doing some very cool stuff with iPod Touch devices and a wifi network in their museum. The interview is podcast on the here.
If you don't have the time to listen, these are the main points that I picked up:

• they are mainly using it for a current exhibition and also to feature the work of some of the artists in their collection who have been filmed at work in their own studios;
• they have a multi-use approach with delivery of the same material via many platforms using their YouTube channel, RSS, iPods that visitors can check out, a wifi network in the museum and as audio files on their website;
• they were originally using video iPods in "notes-only" mode, so they were locked down for use specifically in the museum;
• they are now using iPod Touch devices because they offer a better interface and more possibilities including the upload of user comments (not quite there yet);
• they deliver all content to visitors via a wifi network or website only available in the museum, so that saves synch-ing or updating 20-30 devices for new or changed content;
• if you don't have an iPod or iTouch you can check out one of 20 they have now and they will eventually have 30;
• other US museums experimenting in this space include MoMA (NYC), SFMoMA, Denver, but Chris says a lot of museums are looking at using the same technology;
• he said the URL for their online iPod content was sjma.mobi but on a computer terminal it comes up as http://www.sjmusart.org/m/#_home;
• Chris said they go into the artist's studio and film them working, but only one in 30 has declined their suggestion to do this and some of the artists have embedded their YouTube vids on their own sites too; and
• again he mentioned their intention to use the devices to allow users to upload their own comments about their experience.
  

I reckon this is a great model for us and many other museums. I'm not sure whether their wifi content will only work on Apple's devices and I think that might be a bit limiting in an Australian setting.
SJMA's home page is here: http://www.sjmusart.org/

Where I work

This is just a quick vid from Animoto. I was mucking around with images and music thinking about how museums could perhaps do less interpretation and use more music to create a mood or reflective environment. I had limited choice on the backing music to this short clip, so just picked what was available, but I'll try and find a better MP3 at home over the weekend.

Preservation, Web 2.0 and chamber orchestras (2) - following the lead of the Australian Chamber Orchestra with our cultural digitisation programs

This is most of the text for my recent "provocative paper" at the 2008 Museums Australia Futures Forum in Canberra. The rest of the text was made up as I talked to the slides I used, so if you wanted to hear them you should have come the the forum. My slides are now up on Slideshare (see the post above).

The Australian Chamber Orchestra (ACO) brings old music to life with their live performances. Sometimes they challenge the audience with new interpretations or even "mash-ups" of old and new music. Museums succeed in giving their own well-interpreted performance when they go beyond just shovelling huge amounts of scanned material on the web. I think it is a bit like the ACO breathing new life into old music.

Parallels (does anyone know a neater way to include a table in Blogger?):

Orchestras	Museums
Instruments, music	Collections
Performances	Exhibitions & curatorial interpretation
Tours & media broadcasts	Touring exhibitions and content on new online networks
Recorded music	Digitised collections

I think there is a further parallel in what the public expects from both orchestras and museums: a professional, engaging and enthusiastic performance. I think the ACO is a better example than a full scale symphony orchestra as it is easier for curators to identify with the artistic leadership given by Richard Tognetti, who usually leads the ACO from his violin, than the more formal orchestra conductor waving a baton from a podium.

Museum curators need to manage and care for the collections resulting from our digitisation programs just as we manage our physical collections and museum curators need to be interpreting our online content by playing "our own instruments". That interpretation needs to be delivered in many different ways. I don't think we can just assume the public will find and use it on our rather static websites. Blogs, Flickr groups, social networks and applications like Art Share on Facebook, You Tube videos, podcasts or downloadable audio guides are just a few examples of the relatively new means curators should be using to draw attention to our digitisation programs and collections. They're a little like touring exhibitions or broadcast performances, on the internet.

We need to recognise that digitisation of cultural material for preservation is also good for access. Digital assets created and acquired by digitisation initiatives must be managed and preserved. I believe that the provision of free and open access to the digitised collections of public cultural institutions is also an essential part of the process.

Using new online technologies, we can now facilitate the addition of public descriptions to these files. We can even collaborate with the public in the development of online exhibitions. But, I would not go as far as to say that simply allowing our users (or the audience to use the orchestra analogy again) to generate most of the supposed content of our websites is going to please anyone. If we use the new technologies and social networks primarily to allow users to make comments all over our online catalogues then that is the same as the ACO (or any orchestra) inviting those who have paid to attend a concert to get up on stage and have a go themselves. I believe the public want and deserve more from us than just engagement and conversation. We are being paid for our professional skills in museums, libraries and archives and have an obligation to digitise our collections and provide well-interpreted access to them online as well as other rich content for our websites, just as the ACO performs its music on stage.

I am certainly a keen advocate for social networking and going beyond “metadata” and traditional forms of museology, but there is something more fundamental to do before that kind of "window-dressing" becomes the top priority. We still need to be developing and interpreting fundamental digital collection content.

Some of my colleagues attended the first national Summit on Digital Collections in Adelaide in 2006, but despite a draft National Framework being circulated, not much has since changed. So what we have are some words on a page, but no music yet and certainly no instruments to play it with.

What do we need now? I believe we need some kind of national centre of excellence that is capable of encouraging us in the digitisation of cultural materials. But it should also provide research, advice, and facilitate collaboration, cooperation and training. Perhaps it could also coordinate a shared digital repository service (like CAN) for the poorer institutions who cannot afford their own digital storage.

Much of the advice and research is also available online from UK, US and European sites but the situation overseas is vastly different from our own environment and culture. We have different funding models, differing public expectations, different uptake and spread of broadband and mobile coverage and in many cases our national cultural institutions are well ahead of our overseas counterparts. There is nothing in Australia that meets our specific needs or is close enough geographically for us to have shared conferences, seminars and workshops without paying far too much money on overseas travel.

There are many examples of individual Australian digital initiatives that would be the envy of many overseas institutions. A quick list includes the National Library’s Pandora web archive, the Stable Tasmanian Open Repository Service, the Victorian Electronic Records Strategy, Picture Australia, and massive digitisation programs from the Australian War Memorial and the National Archives of Australia. Currently, something like a large shared digital repository and research service is really only being progressed in the Australian university sector for academic material in projects such as ARROW (led by Monash University) and Demetrius (at ANU). There is nothing like this in the Australian cultural sector.

Maybe we just need to set up an Australian partner centre under one of the international organisations, but we also need some local presence or we will all just keep moving forward in an uncoordinated manner and using vastly different file formats, standards, and even different preservation metadata. Sadly, I think too few institutions are planning for their digital future by setting up trusted digital repositories for their growing collection of digital assets. In the end, if the world decides that the only real digital repository is a certified “Trusted Digital Repository”, that is audited to standards being developed in the US (by OCLC/RLG and NARA) and Germany, will anyone in an Australian cultural institution have had a say in developing that audit checklist? That will make everything more difficult than it needs to be in the future. The “music” might be lost and even if it isn’t, we might not be able to play it.

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.

Being miscellaneous or externalising meaning at our museum

I am reading about a May 2007 interview with David Weinberger's (author of Everything Is Miscellaneous, May 2007, Times Books) in which he referred to the fundamental change that is taking place (online) as being the "externalisation of meaning". I read about this on Seb Schmoller's blog Fortnightly Mailing. When he referred to there being no one right way to order the world, particularly digital stuff, I immediately thought the same thing about our vast digitised collections (both images and documents) that are now online and not always that comprehensively described.

So here is my take on Seb's summary of David's talk and what it means in the museum world:

• it is now simpler for people to organise or search digital things (content or collections) as they decide, rather than for them to be classified for them (eg. museum taxonomies which are not always that easy to understand);


• the links between digital things, and the tags (or folksonomies) and other attributes that people give them create a rich layer of meaning that can be drawn upon by others - and they may be better understood by others than the taxonomies we use in museums to describe our digitised stuff;


• the difference between data and meta-data is disappearing (I've not thought this one through fully, but will add some more when I do); and


• through Wikipedia and blogs and similar there is an increasingly public negotiation of knowledge, via a conversation, in which experts (curators, historians and the creators of digital collections) are decreasingly the arbiters of authority, solely through the addition of our own context.

So, if what this infers is a step along the path towards facilitating and building a better, open online community that is relevant to museums like the one I work in, perhaps this quote from Craigslist founder Craig Newmark (in an interview with David Weinberger) is also something we could well heed:

Somehow we've worked with people in the community to build an online community. We're not certain how it happened, except that we really do listen to people. We try to treat people like we want to be treated, and somehow we built a culture of trust.

In the same interview Craig compares the similarity between Craigslist and Wikipedia and again, I think there is relevance for us:

The big similarity is that both sites are built by the people who use them. Both have a culture of trust, and both are part of an historic trend where power is flowing from small groups of powerful people to much larger, but still small, groups of people.

The two go on from there to stress the critical importance and benefits (from unintended consequences) of doing good by paying attention to real customer service, listening to people (those engaged in the conversation) and following through (not just lip service).

The Memorial now has a Facebook page, a YouTube page and a presence on Flickr. And we now have a page on our website with links to them all: find it at http://www.awm.gov.au/aboutus/community.htm In doing this we've followed the fantastic example set by Brooklyn Museum and their Community page. We may not be as funky as Brooklyn have managed to be, but we are a war museum and our community will be different from theirs. All of this is an attempt to expose our digital content (or collections) to much larger networks. We are now also looking at the facilitation of tags (or folksonomies) and even deeper descriptions of some of our digitised content by this new community. That will probably have to wait until we've implemented our massive new Enterprise Content Management system as it will lay the foundations for many programs including digitisation, web publishing and improved federated search on our site across all collection management systemn and other databases containing digitised documents.

We also continue to use the AWM Blog to draw attention to our collections and the work we do on them as well as to engage the community on topis of particular interest. Some recent examples include posts from conservators, curators and historians on: Aircraft Conservation, our catalogue programs in the Research Centre and also the recent discovery of HMAS Sydney, which has attracted a great deal of interest and many comments from the community.

New rules for media or online museum communications?

I read these new rules for media first on Tony Walker's fantastic blog ABC Digital Futures and then went straight to the original source - Mark Glaser at Mediashift.

Mark's rules might at first seem only relevant to journalists and such, but the mere fact that museums are now engaged in online communications using their websites means that the rules also apply to us in a general sense. So, what I'll do is take Mark's rules and offer a museum perspective on what they mean for us more specifically. (Apologies to both original sources for a tad of borrowing.)

1. The Audience Knows More Than the Journalist: Rather than being a one-to-many broadcast, museums now must understand that they are just part of a much larger conversation that is networked and constantly evolving. So, replace "Journalist" with "Curator" (or historian, etc.) and you get the message. Our audience probably also has something valuable to contribute. A great topical example is the post we put up regarding HMAS Sydney’s recent discovery and the community’s contribution to that story. It has proved very popular and offered a perspective that we simply could not provide alone.

2. People Are in Control of Their Media Experience: The people are taking control and watching, and listening to what they want when they want. Making sure that we, in museums, provide content that is suitable for multiple platforms and entry points is critical. Increasingly, we will need to provide an option for content suitable for consumption on mobile devices.

3. Anyone Can Be a Media Creator or Remixer: But it still takes skills to use those tools and stand out from the millions of others who are doing the same thing. In a way, museums already do stand out as trusted sources of high quality content, but we need to balance what we do with regard to Rule #1 to ensure our position is not compromised here. As I've said here before, the big advantage we have is the content we can generate and provide online, particularly through our digitisation programs. Just facilitating conversations using fancy new technologies probably isn't going to be enough for us to sustain an audience.

4. Traditional Media Must Evolve or Die: The evolution that traditional museums must make online is not just in adding new features; we must change our mindset, ideas and methods to new ways. Many of our old processes are now completely irrelevant or redundant in this environment and hanging onto them has seen others bypassing us and finding new ways to search our content and collections, describe it, promote it, provide access to it, etc. Many traditional research journals are now either dead or dying and in Australian we’ve seen the death of the formerly popular Bulletin magazine. Maybe we need to look at some of our more traditional publications and move them online too. We also need to think up and use different methods for commerce in the online environment if we need to charge for services provided.

5. Despite Censorship, The Story Will Get Out: This isn’t just about censoring news stories; it also applies to new technologies like peer-to-peer file-sharing. Maybe we need to see these new technologies more as potential friends, than enemies. A good example is LOCKSS which uses peer-to-peer technology (as I understand) to safely share and store digital assets.

6. Amateur and Professional Journalists Should Work Together: The reality now is that professional curators/historians and amateur collectors, enthusiasts and historians can learn from each other and the new social media platforms not only allow this to happen, they facilitate the conversations much more readily.

7. Journalists Need to Be Multi-Platform: Museum professionals need to learn how to make best use of a host of skills to reach different audiences. I think most of us need to be familiar with digital cameras, scanners, digital recording equipment, and online technologies such as wikis, blogs, social bookmarks, RSS, tagging, mashups, social networks & collaborative technologies. We can’t just expect to engage with physical visitors nor those who come directly to our web front page.

I reserve the right to add more examples and thoughts to this post as they arise.

Digitisation masterclass slides now online

I've now uploaded the slides for the recent masterclass that I gave to Slideshare. It took several uploads because in order to re-present these slides on their site Slideshare does a bit of manipulating that changes some of the features I had used in PowerPoint. So, I needed to take two presentations down, rework them and upload them again.
Keep in mind that there are 38 slides, but they were used over an entire day, so there is a lot of discussion you are missing. The slides are best read in concert with the Slideshow Transcript that appears at the bottom of the Slideshare screen - a feature often missed by new users. Also, Slideshare appears not to have been able to pick up all of the embedded hyperlinks used in some slides. Again, they are included in the Slideshow Transcript at the bottom of the screen.
Happy viewing!

No post = no audience; no content = shallow conversation?

Hmmm, no posts here recently, but it is because I've been pretty busy preparing a "masterclass" on digitisation for the ARK Group as half of a two day workshop earlier this week called "Revolutionising Library Management". My half was all about digitisation from a library manager's perspective - not so much the technical side and stuff like colour management, the explanation of vector images and the mechanics of various metadata schemas.

Normally, I'd share my presentation on Slideshare (and I may still do that), but currently I think I've been a bit too heavy on the borrowing of content from the Digital Curation Centre, Cornell University, NISO and the Technical Advisory Service on Images. I found their online guidelines and tutorials to be really, really useful during the masterclass to illustrate various aspects of the content that I covered. I also find Jill Hurst-Wahl's blog Digitization 101 to be a great way to stay up-to-date, but I don't always agree with what she has to say. (The other problem is that Slideshare doesn't really handle links within slides that well and my presentation contains a lot of those.)

I began by linking my part of the event to the earlier half on Web 2.0, by saying that without digitised content, most museum or cultural institution websites are pretty shallow, so you can use as many new Web 2.0 applications as you like, but your audience will probably get bored by the lack of new and rich digitised content. So maybe the brave new world that is emerging for us online now has digital content, context (see my previous post about what curators should provide online) and the new conversations facilitated by new social media. A lot of museums are doing one or two of these three things, some are doing all three, but have any of us really got the balance right yet?

So, on now to the digitisation stuff . . .

I began by pointing out a few key messages that struck me while I was building the content for my day: dynamism; preservation, playing; management & planning; and compromise. I was glad that I threw them all up on some butcher's paper because I kept referring to them all day long, even though I had the obligatory power point slides to keep things moving in a certain direction. This is what they mean:

• DYNAMISM: digitisation is a dynamic field and there are no set or concrete answers. While I was researching new research papers emerged on the use of JPEG 2000 and the digital curation cycle and I had to touch on both of those.


• PRESERVATION: There are some who don't believe or understand the essential link between any digitisation program and preservation. But it is there and it is there in two forms. Firstly because we do digitise as a preservation strategy. In our institution we have preserved documents and images that could only have been saved using digital techniques. Thermal papers meant historic documents were disappearing before our eyes and acetate syndrome was destroying rare photos. There is also an often disregarded preservation benefit in giving access to digital surrogates which prevents or minimises the risk involved in allowing physical access to rare, fragile or unique collection items. Secondly, whatever you create through digitisation programs or projects needs to be preserved: through a curatorial life cycle, just like other collections do, but with different requirements as applicable to digital objects and collections.


• Learning by PLAYING: Adults learn best by doing (at least in my experience) - sorry, but I think it is true and this is my blog. I've also been involved in digitising archival and museum materials for a long time now and I reckon we've learned more through our projects than any courses any of us have ever undertaken. So my motto would be "start now and learn by doing". The chances are the authorities will probably go for hardened criminals like mass murderers before they come after you, so you've got a bit of time up your sleeve.


• MANAGEMENT & PLANNING: A lot of useful material of late about digitisation has been indicating the importance of abiding by sound project management principles and using appropriate planning methodologies in your initiatives. This greatly assists us when the authorities (decision makers and purse holders) come after us or don't understand what it is we are doing and why we are doing it.


• COMPROMISE: This comes up continually in our projects and you won't see it in any of the theories emanating from academia and various standards organisations. The fact is that hardly anyone I know in this field meets all the criteria and principles that are mapped out for them or even mapped out by them. All the practitioners have made compromises somewhere, whether it be in metadata, file formats, digital preservation, QA, storage, evaluation, reports or many other critical elements of digitisation.

That's all for now, but you can check out my del.icio.us bookmarks (see the tags on the right of this post) for some new an other really useful sites on the same subject.

Digitisation, Web 2.0 and chamber orchestras

I subscribe to the concert series the Australian Chamber Orchestra (ACO) gives in Canberra (& many other cities) each year. I have done so for many years and each year one or two concerts inspire the most amazing creative thoughts in my tiny brain while I am sitting listening and watching them perform. Some of the concepts and design features that I used in our current Lawrence of Arabia & the Light Horse exhibition came to me at their concerts.
Last Friday I saw and heard "Sublime", a concert that featured music that was written very recently and that which was written as much as 500 years ago. Some of the vocal pieces by Holst, Nick Drake, Sting, Radiohead and Britten were performed and interpreted anew by Katie Noonan. Unlike the online review, I don't think the combination of music was at all awkward, but that is another issue.
So how is all this relevant? Well, currently a lot of IT-based and web-based museum staff are talking about Web 2.0 and museums. Some curators are also talking about it, but mostly the debate is led by the more geekish and web-aware people who are not that attached to or involved in more traditional museum or gallery practices, like curating exhibitions or developing collections. Perhaps I'm generalising unfairly, but in my experience, that is mostly the case. With regard to the digitisation of museum or library or archival collections, those endeavours are also being led by either technologists or imaging experts or others from conservation or preservation backgrounds. Again, the interpretation of such efforts seems removed from the more traditional curatorial processes. So that is where the musical performance comes in. Sorry for the long and uncertain root to this point.
What dawned on me is that for those of us in museums who are responsible (like I am) for large digitisation programs, just scanning the material and then shovelling huge amounts of it up on the web one way or another is a bit like writing music and leaving it somewhere without performing it. Last Friday, the ACO brought a lot of music to life giving it fantastic new interpretations, like that of Leonard Cohen's Hallelujah which Katie sang beautifully and completely unlike other recent interpretations by K.D. Lang or Jeff Buckley. So, what I think this means for us is that all of our efforts on the web re "Web 2.0" and digitisation need to be accompanied by some appropriate curatorial interpretation. It may not need to be that extensive as that certainly wouldn't be possible with mass programs, but we can't simply rely on links to hard-to-find catalogue entries, exposure Google search or public tagging.
As I said above, I have an exhibition running here at our museum for a few more months and we know that visitors don't read much of the carefully written wall text (or storyline) and object or image captions. They will, however, happily come along and listen to me drone on and on about both Lawrence and the Light Horse, perhaps in much the same way that I go along to live music performances in preference to or perhaps in advance of buying a CD or downloading some music from iTunes. (I'm sure some of my "performances" are better than others.)
Museum curators need to be out there interpreting our online content by playing "our own instruments". And that interpretation needs to be delivered in many different ways. Online means such as blogs, You Tube videos, podcasts or downloadable audio guides are just a few examples. Maybe there are more parallels between our institutions and orchestras and it might be instructive for some senior curators, for instance, to look at the role of orchestra principals and leaders?
More to follow as I think this through completely, but to me the way museums use Web 2.0, social networking applications and services and the provision of online access digitised collections goes well beyond the intersection of web strategy, IT strategy, marketing and a social media strategy. That only tells a very shallow layer of the story or the game, there is more to it than that: the museum or institution itself and its collection.
(A recent relevant newspaper article from the NYT touches on some of the points above. You can read it here.)

Wikipedia and "produsers"

A while back at work I suggested we look at moving our entire Encyclopedia to Wikipedia.org. My position has not changed. I still think we should do just that.

Putting the content up on Wikipedia.org gives it MUCH wider exposure than our website ever can and it therefore has the potential to bring new users to our website that may not even know we exist (via links in to our own web content). With a wikipedia.org user account, we can maintain an appropriate amount of control over the content (more than we have at present over wikipedia content that started as ours, already put up there by others).

Another point is that putting it up on Wikipedia allows us to engage the assistance of various volunteers who’d like to help us, but don’t live locally. I've been approached by a few keen volunteers who don't live locally only recently and I think they’d do a good job for us in both maintaining content and generating new content (which we could edit when needed).

It isn’t urgent, but I think we could make some progress on at least a trial.

Adam our web developer has suggested a few things that we need to do before we start using wikipedia.org:

• learn the wiki markup (common sense guide here; markup guide here)


• understand the wikipedia templates (style guide here)


• understand the community structures and the relevant wiki-projects (general wikipedia projects, military history projects, etc)


• individual staff create user profiles and identify themselves as AWM professionals (some may eventually become coordinators)


• participate in the community, firstly by proposing to the community what AWM intends, and participate in existing relevant discussion within the projects


• THEN start importing articles from our Encyclopedia

Some colleagues here said they liked the idea of hosting our own wiki like The (UK) National Archives Your Archives wiki, but they are also supportive of moving our encyclopedia to Wikipedia. One person has started working through existing entries and tidying them up to make sure links are up to date and the sources and references are included for the entries. The motivation to do was that Wikipedians can challenge and/or remove unsourced material.
In a lot of cases we don’t currently list the sources for entries so we are going back to the background material we have for the entry and if that doesn’t exist we may recreate the research. This has made the process slower than we had expected.

As we look further into this and begin to examine some of the issues of "ownership", reliability and "endorsed" wikipedia entries, a read of a very recent post about such matters via the ABC Digital Futures blog would seem advisable. At first glance one might think that this is a bit of a long bow to draw, because it is focused on the digital future of the national broadcaster and it discusses a model of participation regarding travel advisory websites, but when you think about it, many of the principles apply in a much broader sense and to us us as we look at moving our encyclopedia to a more open and participatory environment.

The whole Lonely Planet model is very similar to our situation. Indeed, our existing top-down model of the publication (in various forms) of Australian military history guides, magazines and books could well be undermined in much the same way as the environment in our own small world shifts from military history for the people to one of military history by the people.
The author/presenter is Alex Bruns and you can read his full text online here.

1. In recognising that everybody has a valuable contribution to make, and as he encourages us not to be afraid of it, Alex says there are four preconditions that are needed:
   the replacement of a hierarchy with a more open participatory structure;


2. recognising the power of the COMMUNITY to distinguish between constructive and destructive contributions;


3. allowing for random (granular, simple) acts of participation (like ratings); and


4. the development of shared rather than owned content that is able to be re-used, re-mixed or mashed up.

So, throughout his article he uses the term "produser" to describe the participants in such a community. It is all about true collaboration, engagement, and the shared development of content.

Finally, he suggests these four principles for anyone seeking to successful and sustainable participatory environments (mind the big words):

1. Open Participation, Communal Evaluation - inclusive, not exclusive


2. Fluid Heterarchy, Ad Hoc Meritocracy - from a hierarchy to leadership based on accumulated merit that is recognised by the whole community


3. Unfinished Artefacts, Continuing Process - evolutionary development of articles; nothing is ever truly "finished"


4. Common Property, Individual Rewards - tangible outcomes for individual contributors.

The reasons we need to get involved in the broader wikipedia community are basically two: firstly it is inevitable that it will grow as a community and if we are to have any influence at all we need to be involved; and secondly, we do not have the resources to be involved in two communities by managing one on our own site as well. Wikipedia is the pick (at least in my mind) because it has much more potential reach and exposure than we ever will. I think it is overly pessimistic to look at the worst possible case scenario (of extensive and malicious damage to entries) in this instance. Moving our encyclopedia to wikipedia should not be looked at as a surrender.

Recently in D-Lib there was a good example of an institution (University of Washington Libraries) using wikipedia to promote digital collections by using deep links back into their site. See Using Wikipedia to Extend Digital Collections.