Citizen Science predictions of the Digital Era
a representation of the Internet of Things

a representation of the Internet of Things

 

In a recent post of hers Chandra Clarke, who has been dealing with citizen science for a very long time, since it wasn’t a real movement yet, observes the last years’ sharp increase of mainstream interest in citizen science.

«Where it was once just the province of a smaller group of hardcore geeks – she writes – it now seems like everyone is talking about citizen science. Anecdotally, I’ve been interviewed by a fairly wide range of media outlets, everything from CBC Radio to Woman’s World. On the hard data side, this screen shot of the Google Trends entry on citizen science bears this out:

 

Google-Trends_citizen science

 

More and more citizen science projects emerge, showing a more and more impressive variety of topics and types (so «now you can do everything from raising Monarch butterflies to being a paleontologist in your kitchen») and citizen science is merging with other movements, such as open source, participatory civics, activism, maker spaces, crowdfunding and «it’s increasingly hard to see where one movement begins and another ends».

Clarke’s mention Pybossa, open source software allowing users to create their own citizen science projects, and the Open Space Agency, aimed at developing a network of DIY (Do It Yourself) makers with engineering and building skills able to contribute to space exploration. And further Skywarn, a network of trained severe weather spotters, or Safecast, “global sensor network for collecting and sharing radiation measurements to empower people with data about their environments”.
She notes the increasing number of citizen science games (like EteRNA and Reverse the Odds) and refers to citizen science apps, which have «opened up a whole new frontier in citizen science».
Sound Around You, for example, is developed by researchers who intend to learn more about sonic influences on human psyche: people around the world are invited to use their smartphones to record clips from different sound environments, to upload them to a map and describe how those sounds make them feel. Loss of the Night is designed instead to measure light pollution.
In this regard, Chandra observes: «I think we’ve only just barely scratched the surface of what’s possible with current mobile technology. The average smart phone now comes with an accelerometer, a camera, a video camera, a magnetometer, an ambient light detector, GPS and, obviously, a speaker and a microphone, all as standard equipment. Considering how creative people are getting with simple GoPro cameras and their special mounts or cameras attached to drones just for fun, there’s clearly a lot of scope for some much more interesting citizen science apps than what we’re currently doing».

And what about Internet of Things? Sensors are cheaper and cheaper, the Internet more and more widespread. The average citizen «will soon be able to measure and track pretty much anything».
«Anyone will be able to deploy sensors and this will in turn generate huge amounts of highly granular data. Indeed, most of us will deploy sensors, even if not entirely deliberately, because they’re going to be embedded in the products we use».

In some ways – she concludes – we’re just beginning to build a massive nervous system for ourselves and our planet and it’s going to teach us all sorts of amazing things. We don’t yet know what we don’t know.

But it’s going to be very interesting. Stay tuned».

 

Read Chandra Clarke’s article

 

 

For further info:


EGI Community Forum 2015. Registration open!

EGI banner BariCivic Epistemologies partner EGI (the Stichting European Grid Initiative) is pleased to announce the registration for  the EGI Community Forum 2015 is now open.

The event will be held in Bari, Italy from 09 November 2015 08:00 to 13 November 2015 18:00 (Timezone: Europe/Rome).

imgpsh_fullsizeTheme for this year’s EGI Forum is “Building Next Generation e-Infrastructures through Communities”. Nowadays, research practice is increasingly and in many cases exclusively data driven. Knowledge of how to use tools to manipulate research data and the availability of e-infrastructures to support them are foundational. Along with this, new types of communities are forming around interests in digital tools, computing facilities and data repositories.

By making infrastructure services, community engagement and training inseparable, existing communities can be empowered by new ways of doing research and new communities can be created around tools and data. The EGI Community Forum aims at gathering tool developers, infrastructure providers, data providers and research communities to work together towards open science.

EGI solicits contributions in the form of presentations, workshops, user community meetings, tutorials, posters and demonstrations for the following topics:

  • Community Engagement and Innovation
  • Virtual Research Environments
  • Data and Computing 
  • Identity provisioning, Authentication, Authorisation and Accounting
  • Open Science Commons.

The Civic Epistemologies project will participate with a poster dedicated to its activities and outcomes. Antonella Fresa from Promoter SRL, Technical Coordinator of Civic Epistemologies, is member of the forum Programme Committee.

More information about the event is available here.

For more information view the scientific programme.


5 October 2015: HACK THE AUDIENCE!
CC: Carina Erdmann/Waag Society 2015

CC: Carina Erdmann/Waag Society 2015
http://creativecommons.org/licenses/by-nc-sa/4.0/

 

Co-creation is a powerful strategy to build new relationships. At “Hacking Heritage: the audience”, on 5 October 2015, museum professionals present and discuss the potential benefits of working co-creatively with their audience and share lessons learned and tips. Through inspiring panel sessions and presentations, Waag Society experts will explore the opportunities co-creation provides and the challenges that come along with it.

Co-creation starts from the idea that everyone is an expert on one issue or another, first and foremost on his/her own life. Actually, co-creation is nothing new, but it can bring something new to museum practices: it can enrich the stories a museum tells, it can enhance the understanding between the different worlds we inhabit or it can change the way a museum programmes its future events.

During “Hacking the Audience” participants will go into questions of language, creativity, equality, modern craftsmanship, innovation, cultural identity and strategy. Twelve heritage experts take the stage to discuss their experiences and come to new ideas together. Three inspiring examples will be highlighted in short presentations. There will be enough room for questions and remarks, both during the meeting as well as during drinks afterwards.

 

Speakers

  • Hannah Fox, project director van de Derby Silk Mill
  • Tiedong Yang, was involved in the Young Curators Project of the Chester Beatty Library

The full programme (with more speakers!) will be soon available on the event webpage.

 

The expert meeting “Hacking Heritage: the audience” takes place in the Theatrum Anatomicum of the Waag. Entrance is free.

 

 

For registration and further information click here.

Within the EU-project RICHES, Waag Society is preparing to launch a publication aimed at heritage professionals, providing them with inspiration, resources, strategies and tools for anyone wanting to explore co-creation. Within the expert meeting Waag Society’s members will give you a sneak peek of the tools they are developing.


Corsi e workshop Imago 2015/2016

SONO APERTE LE ISCRIZIONI

•Corso di fotografia Analogica
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24 ore
Scatto, sviluppo del negativo, stampa
Cosa succede quando scattiamo una fotografia: la luce, l’obiettivo, il diaframma, l’otturatore, la pellicola. Lo sviluppo del negativo e la stampa in camera oscura.
I temi e gli stili: composizione, still life, ritratto, reportage, notturno, paesaggio e natura.

In dotazione: rulli b/n, sala di posa con luci artificiali e flash, banco per still life e fondali, camera oscura con ingranditori, timer, carta fotografica 12×18, 18×24, 24×30, sviluppo e fix.

 

•Corso di fotografia Digitale
**********
20 ore
•La macchina fotografica digitale
Principali impostazioni e funzioni della reflex digitale. L’obiettivo, il diaframma, l’otturatore.
• temi e gli stili: composizione, still life, ritratto, reportage, notturno, paesaggio e natura.
La post-produzione del file digitale: l’elaborazione e l’archiviazione dell’immagine.

 

•Corso base di ripresa e montaggio
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Durata del corso: 20 ore (10 lezioni di 2 ore ciascuna)

 

LEZIONI I-V: TECNICHE DI RIPRESA

 

I LEZIONE: LA TELECAMERA
Struttura e componenti della videocamera, formati e supporti (minidv-dv- dvcam-hdv-hd-full hd), modalità di ripresa automatiche e manuali, messa a fuoco, esposizione, bilanciamento del bianco, filtri ND, ripresa audio.

 

II LEZIONE: IL LINGUAGGIO DEL VIDEO: LA TECNICA COME MEZZO PER LA NARRAZIONE

Nozioni di semiotica del video e di scrittura cinematografica (La sceneggiatura, la storia e il racconto, Il tempo e lo spazio nella narrazione, l’inquadratura, la relazione tra le inquadrature, sapere e vedere)

 

III LEZIONE: COME SI REALIZZA UN’INTERVISTA (RIPRESE IN STUDIO) Realizzazione di un’intervista (Ripresa video, audio e luci)

 

IV LEZIONE: RACCONTARE L’AMBIENTE CHE CI CIRCONDA (I USCITA)

Come descrivere l’ambiente che ci circonda attraverso il video. L’utilizzo del cavalletto e della camera a spalla. Documentario e reportage.

 

V LEZIONE: RACCONTARE L’AMBIENTE CHE CI CIRCONDA (II USCITA)

Le cinque variazioni. Raccontare un soggetto da punti di vista diversi.

 

LEZIONI VI-X: IL MONTAGGIO

 

VI LEZIONE: INTERFACCIA DI FINAL CUT
Strutturare un progetto di final cut, le impostazioni, acquisizione video, gli strumenti, nozioni di montaggio.

 

VII-X LEZIONE: MONTAGGIO DEL MATERIALE VIDEO GIRATO DURANTE IL CORSO

Ogni partecipante lavorerà sul proprio progetto video al fine di realizzare una serie di piccoli documentari.
Alla fine del corso verrà organizzata una serata in cui verranno proiettati i lavori svolti dai partecipanti.

Per frequentare il corso i partecipanti dovranno disporre della seguente attrezzatura:
Telecamera DV o HDV o Full HD Cavalletto Computer portatile

 

•Corso di camera oscura
**********
12 ore
Introduzione all’uso dei materiali negativi, supporti e carte, sviluppi, fissaggi e viraggi.
Stampa di provini a contatto, ingrandimenti 24×30 con tecnica di bruciatura e mascheratura.
In dotazione: rulli b/n, camera oscura con ingranditori, timer, carta fotografica 12×18, 18×24, 24×30, sviluppo e fix.

 

 

Per info:

Associazione Imago
VIA BOVIO, 10 PISA
mail: imagopisa@tiscali.it – tel:3286610814


Search in Europeana via the Toolbox realised within the E-Space Museums Pilot

europeana_api_4The Toolbox of Europeana Space Museums Pilot is a web-based application designed for museum curators, that will allow them to create always brand new educational videos and promotional worksheets melting the museums/memorials contents with the cultural heritage available in Europeana, the European digital library.

The first prototype was released and tested in the past months. Since the end of July 2015 the users of the museums subpilot Toolbox can search in Europeana for items and use them within the Toolbox. By using the Europena API the Toolbox offers now the possibility to search and link Europeana items directly to the Toolbox.

This milestone marks prototype II of Toolbox development and enriches  the service and the uses enormously: not only local data, but data from Europenana can be used now in the same database, to create educational and promotional materials.

Important institutions in Germany already joined the Pilot and will participate to the testing of the prototype and the hackathon of the Museums Pilot is planned to take place in Spring 2016 in Venice (Italy).

Special thanks to the developer team at Museumsmedien.

More About the TOOLBOX:

The Toolbox gives small and mid-sized memorials/museums the possibility to collect and arrange items for creating digital media for educational work. In this way memorials/museums will get more influence on the creation process and cost can be reduced in the production process. By using the Toolbox, memorials/museums can produce worksheets and storyboards (as a base frame for a video production) with data of the museums local data bases or from Europeana.

Content provider for the Toolbox

Content provider for the Toolbox is one of biggest institution in Germany dealing with the German resistance against the Hitler Dictatorship: the German Resistance Memorial Centre in Berlin.

Technical background of the Toolbox

The Toolbox uses open source web-technology, based on a Linux/Apache Webserver with a Typo3 CMS 6.29 installation. In detail there will be used PHP, MySQL-Database, JQuery and other Java Script Frameworks. All software used within the Toolbox will be open source.

Are you interested in the Toolbox, the possibilities and services for your museum, memorial or institution: don’t hesitate to contact Beatrix Lehmann, lehmann @ museumsmedien.de


RICHES: policy brief on co-creation released!
co-creation session at Waag Society

co-creation session at Waag Society

 

A crucial topic that is addressed and researched within the RICHES consortium is co-creation, being the practice where different stakeholders with different expertise come together collaboratively to create future-oriented perspectives, enrich cultural heritage (CH) experiences and build relations with networks that are closely invested in an institution’s collection.
Co-creation within CH institutions is not a new phenomenon, but the current practice often is project based, run only by the educational staff, met with skepticism from curators and conservators, leaving a lot of potential results untouched. Besides providing an indication of good practices in co-creation and a practical toolkit for heritage professionals who want to take on this challenge themselves, the RICHES project also provides this policy brief. The paper is based on preliminary research findings, where the consortium gives a short overview of the potential benefits of co-creative methods and current practices in the CH sector and offers a number of suggestions to stimulate co-creation in CH on a strategic level.

 

«A co-creative approach that is firmly rooted in CH institutions can potentially change the way that heritage is curated, presented, digitised and shared, involving specific experts, specific communities and specific target groups to address a topic or a collection together. By working in an equal partnership, where personal expertise is recognised and valued and where people meet each other and share ideas through creating something together, unexpected outcomes can emerge. More importantly, ownership is created and the exhibition, campaign or programme is closely connected with the stakeholders and reflects a broader story than just the viewpoint of the CH professional» A very important outcome or result of co-creation is «that a CH institution may become more embedded within the communities it is trying to reach. Working co-creatively can enable CH institutions to build a relationship with their local communities, with new visitors, with younger people or with people from diverse cultural backgrounds».

 

A co-creation process can help organisations: «find a connection between groups that would normally not collaborate; raise awareness and sensitivity towards important issues with certain groups; create a safe space for sharing; create a common understanding; enable the creation of more layered and nuanced exhibitions and events; build relationships between groups that exist well beyond the scope of a project». [RICHES, Co-creation strategies: from incidental to transformative, 2015]

 

 

Download this policy brief


From Digitisation to Preservation, Creative Re-use of Cultural Content and Citizen Participation

On 1st October 2015, in Granada, an important event was being held, organised by Promoter SRL under the title “From Digitisation to Preservation, Creative Re-use of Cultural Content and Citizen Participation”. The initiative, hosted by the Digital Heritage 2015 conference, was a discussion panel involving EU projects RICHES, Civic Epistemologies, E-Space, PREFORMA and the international association Photoconsortium.

 

DigitalHeritage2015

 

 

Click here for further information on the Panel, including programme and speaker.

 

More details on Digital Heritage 2015 are available in the Conference website.


Civic Epistemologies at Digital Heritage 2015

Civic Epistemologies was presented in a panel session entitled “From Digitisation to Preservation, Creative Re-use of Cultural Content and Citizen Participation” at the DIGITAL HERITAGE 2015 conference in Granada (28 September – 2 October 2015).

“Federated” world congress of the leading international societies, organisations and events around IT for heritage, this event will bring together for the second time VSMM, Eurographics GCH, Arqueologica 2.0, Archaeovirtual and special events from CAA, CIPA, Space2Place, ICOMOS, ICIP and many more, all in one venue with a prestigious joint publication. A ground-breaking public display of cutting edge digital heritage projects will also grace the conference venue at Granada’s Alhambra and Sciences Park museum.

The “From Digitisation to Preservation, Creative Re-use of Cultural Content and Citizen Participation” panel, taking place on 1st October 2015, offered an overview of initiatives and EU projects E-Space, RICHES, Civic Epistemologies, PREFORMA, and Photoconsortium.

 

For more information view the article published on DigitalMeetsCulture to announce this event.


SOIMA 2015: Unlocking Sound and Image Heritage

SOIMA-2015-Conference

Call for contributions: Deadline 15 February 2015

What? This is an international conference on ensuring a safe and creative future for sound and image heritage. Twelve national and international institutions are supporting the event.

Why? Recorded sound and images have captured our world, our lives and our imagination. Thanks to rapid advancements in social media and information technologies, it has become much easier to share and use sound and image content. Yet contrary to common perception, not all content is readily usable. Today’s knowledge on preservation and access is fragmented, often trapped in separate areas of expertise, presenting a challenge to content collectors and users.

How? The conference will bring together professionals and policy makers with an interest in sound and image preservation by focusing on four themes:

  • Memory, Intangible Heritage and Creative Expressions
  • Sustaining Sound and Image Heritage
  • Creative Use and Access
  • Education and Training: Current Needs and Future Possibilities

Contribute!  Is there a theme on which you want to share your experience, a challenge that needs to be addressed, an innovative and real-life example or do you have an idea for the future? Then join us for a long (20 min.) or short presentation (10 min.), round table discussion (20 min.) or poster presentation.

The conference will have an interactive and participatory, yet reflective, format with inspirational guest talks, round-table discussions, featured interviews, and parallel sessions on special/technical topics. Additionally, there will be both hosted networking occasions and social activities. An exhibition area will provide rich possibilities to directly experience and learn about unique and little-known sound and image heritage. A poster area will also be available. A pre-conference workshop of five days will be organized for advanced professionals who are responsible for training or knowledge dissemination on preservation and access of mixed sound and image collections.

The complete, detailed programme will be available by 10 April 2015.

If you would like to present a paper, please send a 150-word abstract (excluding references). For the purpose of blind refereeing, the full name of each author with current affiliation and full contact details (address, email, phone), title of presentation, and a short biographical note (max. 150 words) should be supplied on a separate page. Both documents (abstract and contact details) should be in English. Please indicate the theme as well as the type of contribution you wish to contribute.

Proposals for papers should be sent using the  Pre-registration and Abstract Submission form or by e-mail to soima2015@kikirpa.be by 15 February 2015. All applicants will be informed about the status of their  application by 20 March 2015.

Collaboration, and exchange of information and know-how between institutions and specialists is key to unlocking this heritage!

More information:

www.soima2015.org

soima2015@kikirpa.be

 


Concorso fotografico Pisa oltre lo specchio

imago

 

in collaborazione con

 

LP

 

presenta il
concorso fotografico a premi

“Pisa oltre lo specchio: il suo fiume, i suoi canali, il suo mare”

L’acqua è stata e continua ad essere per la città di Pisa un elemento di importanza vitale.
Elemento generativo della città stessa e fonte da addomesticare, molte volte sfruttato con poca lungimiranza.
Ai partecipanti del concorso fotografico è chiesto di esplorare, con un approccio personale il più originale possibile, la pluralità del rapporto spesso altalenante che lega l’acqua alla città e ai suoi cittadini o di
soffermarsi su un aspetto particolare di tale pluralità.

Esplorare ed illustrare l’elemento acqua come risorsa e possibilità, limite e punto di fuga;
come metafora identitaria e opportunità di valorizzazione del contesto urbano, sociale e architettonico.

*
La partecipazione al concorso è gratuita ed è aperta a tutti i fotografi, esperti e/o dilettanti di qualsiasi nazionalità.
Ogni autore è libero di interpretare il tema a proprio piacimento e può presentare al concorso un massimo di tre opere.

Una giuria di esperti selezionerà le migliori 50 foto pervenute.
Il giudizio della giuria è inappellabile.

*
Le immagini vincitrici e le foto selezionate saranno esposte al pubblico presso
gli Arsenali Repubblicani di Pisa in occasione di
LabQ – Laboratorio per la Qualità Urbana Pisa 16-25 ottobre 2015
“La priorità dello Spazio Pubblico. Il Verde come valore primario nelle nuove strategie urbane.”

La giuria decreterà le opere vincitrici il 24 ottobre 2015 presso la sede espositiva e mediante pubblicazione dei nominativi dei vincitori e delle opere sul sito www.imagopisa.it.
*
Le fotografie potranno essere consegnate a mano o spedite entro il 5 ottobre 2015 insieme alla scheda di iscrizione all’indirizzo seguente:
Associazione Culturale Imago, Via G. Bovio, 10 – 56126 Pisa.


Ogni singola foto, di dimensioni massima 24x30cm, può essere sia a colori che in bianco e nero e dovrà essere montata su cartoncino nero rigido 30x40cm.
Ogni foto dovrà riportare sul retro nome e cognome dell’autore e il titolo dell’opera.

**

I premi
1° classificato:
I cinque DVD della serie “Fotografia Italiana” raccolti in un cofanetto. 5 film documentari dedicati ai fotografi italiani tra i più noti a livello internazionale: Gabriele Basilico, Gianni Berengo Gardin, Franco Fontana, Mimmo Jodice e Ferdinando Scianna. 2009, 5 volumi, Ed. Contrasto

2° classificato:
“Gabriele Basilico – Milano. Ritratti di fabbriche” 2009, 126p., ill., Ed. 24 Ore Cultura

3° classificato:
“Mimmo Jodice. Perdersi a guardare. Trenta anni di fotografie in Italia” 2007, 276 p., ill., rilegato. Ed. Contrasto

**
Ogni partecipante è responsabile dell’oggetto delle proprie opere e solleva gli organizzatori da ogni responsabilità, anche nei confronti di eventuali soggetti raffigurati nelle fotografie. Il concorrente dovrà informare gli eventuali interessati (persone ritratte) nei casi e nei modi previsti dall’art.10 della legge 675/96 e successiva modifica con D.Lgs. 30 giugno 2003 n.196, nonché procurarsi il consenso alla diffusione degli stessi.
In nessun caso le immagini inviate potranno contenere dati qualificabili come sensibili.
Ogni partecipante dichiara di possedere tutti i diritti sugli originali, conserva la proprietà delle opere trasmesse alla giuria, ma autorizza ad usare le immagini a scopi promozionali senza fini di lucro, redazionali e documentari, senza l’obbligo del consenso da parte dell’autore, ma con il solo vincolo di indicare nella pubblicazione il nome dello stesso. La partecipazione al concorso implica la la totale accettazione del presente regolamento.