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Digital Culture: The Changing Dynamics of different ways, but they are our guides to the enormous quantities of digital stuff online that is growing all the time and they are getting clever. People talk about Web 3.0 or the semantic Web and no one really knows exactly how it will all work, but they do know it is vital how digital information is packaged, offered and understood by machines. It needs standards. It needs structuring. It needs tagging with its meaning or meanings depending on who you are. In a way, search engines are becoming the digital equivalent of the original collectors of the past: people like Henry Wellcome, John Soane or Pitt Rivers. But the machines and robots of the future will be collecting digital meanings not physical objects. The digital meaning sits within the different interpretations of objects that come from its original source (e.g. the museum or curator), and the tags that are given it by users whose view of that object or its use differs from that of the institution. The pioneering STEVE 28 project makes this point very clear in all their work as they realized that the words the curators used to describe works of paintings in museums were not the same that people used to describe the same paintings. One of their starting points was that searches for the term “impressionists” on the San Francisco Museum of Art website used to come back with “no matches” despite the fact that the museum is well known for its impressionist collection. This was because the term was not a curatorial term, so nothing was marked in their system with this language. So search engines need to know an object can have different meanings to different people and will need to understand those meanings from its digital identifiers (tags, metadata, etc.) but also from the context in which it sits. Places like museums, galleries, libraries and archives need to get their stuff – their digitized collections, objects, texts, archives, podcasts, videos – out into the online world where these machines can find it and where it can be integrated into social networks. Once in those networks, it can gather different interpretations and meanings that will enrich it as a digital object for both search engines and real people. And if those clever search engines can find it and they know what it is and where it is from, then they will be able to deliver it to whatever new services we will all be using in the future. The new generation of online services that will customize and 28 http://www.steve.museum/ 164
Turning cultural websites inside out personalize this huge sea of digital information for us. Perhaps it will be some of these new services that will help to shape the way cultural content is seen and found. One thing is for sure, our rich cultural data needs to be available digitally to be mashed up, interoperated with and re-used in other places and other contexts. Available to Web developers, designers, artist, entrepreneurs, programmers to use. That way it can begin to plug in and mingle with the communities and people that are online, no matter where they are, or who they are, or what they are doing. The new online services of the future we cannot imagine. In fact, I bet our understanding of what online means will not even be the same. But whatever it is, we need to make sure that culture is part of it and that will mean working together more closely, agreeing the language we use to talk to machines and sharing our data more openly. Acknowledgements: I would like to thank the team at Culture24 for their help and support with this paper, in particular Ruth Harper, Anra Kennedy and Jon Pratty. 165
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CULTURELINK Network of Networks for
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This Work has been published with t
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Culturelink Joint Publications Seri
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Managing culture in virtual realms:
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Foreword Digital culture is a new c
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INTRODUCTION
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Digital Culture: The Changing Dynam
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PART ONE DIGITAL CULTURE - THE NEW
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Introduction Media users: from read
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Media users: from readership to co-
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As John B. Thompson argues, the sup
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designers will take a back seat in
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The above-mentioned are two affirma
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The understanding of media users, a
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Transformations of cultural product
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References Transformations of cultu
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Copyright and the digital age: a co
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Challenges for cultural policies: t
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Challenges for cultural policies: t
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2006), foresaw an impressive growth
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digital resources, needs to be defi
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References Benkler, Yochai: The Wea
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