Museum-Generated Video

This week, I read some great analysis on the Maxwell Museum of Anthropology at the University of New Mexico. In their presentation of photographic works by John Collier Jr., the Museum created an online tool for creating "patriotic films" up to 40 seconds in length. As Ideum pointed out, the technology behind this project is exceedingly complex, but for the user, exceedingly usable. A good example of the end result, a user-generate film, can be found on bavatuesdays.

I cannot commend this work more highly. As I have previously written, this approach represents the future of online content delivery - especially given the rash of litigation related to content delivery. We have seen copyright news of Google in Europe and YouTube receiving its weekly cease-and-desist. The problems with these cases, is not the delivery mechanism (Web 2.0 tools) generally but rather disagreements of the source materials and content specifically.

Archives and Museums, as the maintainers of public domain images and cultural content, stand at the nexus between the content and distribution/public disbursement. Once these rich information sources are opened and the tools of creation have been turned over to the people to propagate and distribute as they like (via blogs, email, personal websites) the content itself is freed from the hegemony of the platform, the institution and the limitations of the geographically-determined audience. Think the long tail writ large...

But, to make this happen, technology professionals need to change the terms of the discussion. A recent article in Artful Manager makes clear the disdain that persists amongst Museum executives. Andrew Taylor makes the following point, "Computer and communications technology is extraordinarily cool and often powerfully effective. But if it's easier, cheaper, faster, and more effective to use a pencil...use a pencil." Though framed amusingly, the reality is that important Web 2.0 tools face an ever-increasing challenges: budgets shrink, technologies increase in complexity and the power of individual perspective is seen as threatening instead of liberating.

This is a barrier to adoption that must be overcome. In conversations with senior leadership, technology professionals need to move beyond discussions of specific technologies. We must engage a fuller, more professional dialogue on what these technologies mean to the experience of cultural content and the execution of institutional mission. It is only when directors and curators are informed of the true reach of Web 2.0 (In September 2006, YouTube had 34 million monthly visitors) and how this represents a watershed moment for Museums and cultural institutions. At this moment, we can exponentially expand audience while also making previously obscure content accessible. Amongst technologists, once we can get over our love for the technologies (the cool factor) and treat these services as the strategic outreach they are, only then will the adoption rates for these tools truly blossom.

As Queequegs pointed out, "technology changes everything." Given the opportunity at hand, we certainly hope so. But first, we the early adopters, must change a little as well.