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Stuart Lee
1. http://www.oucs.ox.ac.uk/ww1lit
The Great War Archive: Oxford
University’s Community Collection
Dr Stuart D Lee
Reader in E-learning and Digital Libraries
Director, Computing Services
Senior Lecturer, English Faculty
Merton College
University of Oxford
Stuart.lee@oucs.ox.ac.uk
6. http://www.oucs.ox.ac.uk/ww1lit
Web 2.0 = new audiences and means ofWeb 2.0 = new audiences and means of
disseminationdissemination
Web 2.0 = new audiences and means ofWeb 2.0 = new audiences and means of
disseminationdissemination
RSS
8. A ‘typical’ digitization project
• 6,000+ digital images of rare/unique
items related to the poets of WW1
• Several hundred historical photographs,
audio/video clips
• Selected by experts, curators, etc;
digitised and catalogued professionally
• Catalogued and presented for
searching and browsing
9. Digital Imaging: A Practical Handbook (2000)
Project Lifecycle
• Instigation of Project
• Assess and Select
Material for Digitization
• Prepare Material
• Digitize
• Edit
• Deliver
• Support
http://www.oucs.ox.ac.uk/ww1lit
Increase Access
Meet Strategic Goals
Preservation
Increase Access
Meet Strategic Goals
Preservation
12. Some figures
• 15m people in London each day
• c. 85% own a digital camera or smartphone =
12.75m
• If only 1% used their camera, and took 1 picture
= 127,500 images TODAY
• 20 minutes to catalogue an image using
traditional levels of metadata
• 42,500 hours
• 21 years for one person
http://www.oucs.ox.ac.uk/ww1lit
13. http://www.oucs.ox.ac.uk/ww1lit
‘The Factory made possible mass production, mass
consumption … The web could make innovation and
creativity a mass activity that engages millions … [future
generations] will expect and welcome opportunities to
participate, collaborate, share and work with their peers.’
C. Leadbeater We-Think (www.wethinkthebook.net)
14. ‘Community Collections’
• Online collections created by public communities for
public communities
• The public:
- contributes material AND digitizes
- agrees copyright
- catalogues material
http://www.oucs.ox.ac.uk/ww1lit
19. http://www.oucs.ox.ac.uk/ww1lit
The Great War Archive:
Submission Website
WelcomeWelcome
andand
instructionsinstructions
Simple onlineSimple online
submissionssubmissions
processprocess
No need forNo need for
registrationregistration
30. http://runcoco.oucs.ox.ac.uk/
• 5 members of staff - 2 to digitize material (i.e.
photograph and scan) - 2 to help catalogue and upload
material - 1 to deal with the public as they come in
• 2-3 computers, 1 flatbed scanner, 2 cameras (2
megapixels), tripods, flat surface, audio recorder
32. Public contributors upload 5,900
digital objects to the website
Project uploads 600 digital
objects from submissions
days
3,000 images
in the Flickr
Group since
July 2008
600600
Great War Archive: What
We Received
41. Digital Imaging: A Practical Handbook (2000)
Project Lifecycle
http://www.oucs.ox.ac.uk/ww1lit
42. Free software - CoCoCo: “collect
and catalogue content contributed by
website users”
• Run collection
• Export collection to web delivery system
• Freely available, Open source
http://runcoco.oucs.ox.ac.uk/resources/cococo.html
runcoco@oucs.ox.ac.uk
http://runcoco.oucs.ox.ac.uk/
44. 1st July - 14th October
No submission days just online
Not much publicly owned material from
the period
Concentrate more on ‘teaching
resources’
Willing to accept - photographs, audio,
video, presentations, handouts, reading
lists, pre-prints, book chapters, works
inspired by the period etc
51. Next Steps
• Launch Woruldhord in
December/January
• Further modification to CoCoCo
software
• Running a small Great War Archive in
Germany (Spring, 2011) then possibly
France
• Large global initiative prior to 2014
http://www.oucs.ox.ac.uk/ww1lit
52. Observations
• Communities and existing
networks are the key
• Keep it focused, concentrate
attention on one ‘big’ thing
• Do not ‘overthink’ the problem
• The public know more than
we think
• A cost effective way to create
a mass of digital objects and
engage the public
• Reassess what is important?http://www.oucs.ox.ac.uk/ww1lit
56. http://www.oucs.ox.ac.uk/ww1lit
http://runcoco.oucs.ox.ac.uk/
The Great War Archive: Oxford
University’s Community Collection
Dr Stuart D Lee
Reader in E-learning and Digital Libraries
Director, Computing Services
Senior Lecturer, English Faculty
Merton College
University of Oxford
Stuart.lee@oucs.ox.ac.uk
Editor's Notes
c. 6000 digital images of primary source material (manuscripts, letters, service records) from major British WW1 poets.
Online corpora of the full-texts of
the poems.
c. 500 Multimedia objects (photographs,
audio and video) from the IWM.
Publications of War (recruitment
posters, trench papers etc.)
Supporting educational materials
(tutorials, resource packs, podcasts etc.)
Traditional Digitisation Projects vs Community Collections
extra project that was undertaken as part of the funding known as The Great War Archive initiative - an example of what is called a ‘Community Collection Initiative’. Originally intended as a small adjunct, this rapidly became a major project in its own right, and has attracted considerable attention worldwide.
Aim: To create a worthwhile digital collection - at low cost by ignoring the need for institutional digitisation and metadata creation
Poster: Targeted specifically at genealogists, military collectors and enthusiasts, and the elderly
2008, NPD’s Household Penetration Study: Ownership Landscape 2008 reported that nearly 75% of all US households owned at least one digital camera.
UK many people have scanners and digital cameras and are web savvy,
it would not be a wild claim to say the ability to digitize visual material is almost ubiquitous.
an extraordinary resource just waiting to be exploited – namely Mass Amateur Digitization.
The question is: how can we tap into this resource for the benefit of research and teaching?
http://www.npd.com/press/releases/press_080923a.html
Attachment after creation of contribution. Useful esp. when more than one attachment
In conjunction with this we ran a series of ‘submission roadshows’ to offer on the spot digitisation and advice. We would base ourselves in a local museum or library and invite people to bring the objects along on a particular day. We would then talk to them about the item, get them to fill in a form with further information about themselves and what they had brought (i.e. the basic metadata again), and then we would photograph/scan the item or items.
To get the word out we targeted local newspapers, radios, and produced a series of small simple cards that we left in pubs, libraries, trains, and other public places.
We also provided a ‘Submission Day Pack’ for libraries we could not visit which guided them through running their own days.
Small ad in Flickr comments field to kick-off
Without the formal submission and metadata process
assess the potential for user tagging and comments
enhance metadata
An interesting observation in all of this was the blurring between the amateur and the professional. Although the digitisation standards and the physical environments the public used (based on guidelines posted on our site) were not comparable with professional work-practices, and one would not want to rely on this process for archiving extremely rare items, they ‘did the job’ and provided thousands of usable digital surrogates.
Moreover, the wealth of information in the collective public knowledge base is astounding, and demonstrated that many so-called ‘amateurs’, who are not necessarily part of academia, have a lot to contribute. The comments and discussions on the Flickr site alone demonstrates the depth of knowledge out there that can be tapped into.
100th Anniversary soon of 1914-1918, if we had time we’d do this – pan-European Great War Archive?
George Cavan was a Company Sergeant Major in the 9th (Glasgow Highlanders) Battalion Highland Light Infantry. He lived with his family, his wife Jean and three daughters, in the Drill Hall in Carluke, Scotland. While away at training camp the orders came through to dispatch to France. The train he was on with his troops went through his home station but did not stop there. He threw out onto the platform a matchbox containing a note to his family. On one side was the name of his wife and on the other the message to the family. Someone picked up the matchbox and delivered it to the family. George was killed just a few days after arriving at the front in France on the 13th April, 1918. He lies in an unmarked grave but is commemorated on the Ploegsteert Memorial. The items were submitted by Maureen Rogers, currently living in Australia.