Session Idea: Lowering Barriers to Sharing DH Content

I’m familiar with lots of small historical societies–volunteer-run, mostly–who have photographs and historical documents they would like to share but are not sure how. Some scan the photos and put them on their own websites and some add them to Facebook, but their methods often don’t produce high-quality visual representations, have poor metadata, and don’t disseminate the content effectively. This is probably similarly the case for other sorts of non-profit, non-professional humanities groups or arts organizations.

How can the professional community help these small, non-professional groups? Can we help train them in the use of available tools, like Omeka or PastPerfect’s exhibit plug-in? Is it possible to effectively utilize social media like Facebook and Pinterest? When discussing the proposed Delaware Valley Digital Humanities Center, can we afford to provide services to the little guys?  Could the DV DH Center look something like the Maine Memory Network or North Carolina’s DigitalNC? Could we have a Philly-based scannebago?

Session Idea: How do we make public art relevant?

The city of Philadelphia has one of the largest collections of public art in the country, but how do we take an existing resource, like Philadelphia’s preeminent collection of artwork, and make it new again?

I am the New Media Manager for the Association for Public Art (aPA, formerly the Fairmount Park Art Association). In 2010, aPA launched Museum Without Walls™: AUDIO — an innovative and accessible outdoor sculpture interpretive program for Philadelphia’s public art.  MWW:AUDIO is a “multi-platform” interactive audio experience – available for free by cell phone, audio download, or on the web. It offers the untold histories that are not typically expressed on outdoor permanent signage. Through first person, oral story telling from multiple viewpoints, the social history of public art is shared.

Although this has been a successful program, it has not been developed for every artwork/sculpture in Philadelphia. What about the sculptures that aren’t included in the program? Or, what other ways can we reconnect audiences with public art?

We recently launched “Open Air” by Rafael Lozano-Hemmer currently running nightly from 8pm-11pm on the Parkway through October 14. “Open Air” is a spectacular interactive light experience directed by participants’ voices and GPS locations, illuminating the night sky from the Parkway. How do we share the history of a temporary spectacle like this? How does its history carry on once it’s gone?

I would like to brainstorm with others about how to answer these questions. Let’s get together and come up with ways to collaborate with one another, and make relevant historical connections.