Shared digital futures: partnership and meaning-making in newly digitised collections.

包容性的、基于合作伙伴关系的解释性策展方法能否与博物馆存档和保存过程一起运行，而不是在材料被选择并作为可视数字资产呈现给公众之后？ 借鉴在最近的临时语义学项目中吸取的教训，共享的数字未来：在新的数字化收藏中建立伙伴关系和意义，采取一种实验性的伙伴关系模式，将各种各样的观点带到“新鲜出炉”的收藏上-新数字化，骨架记录实现基本的档案清晰度，但缺乏任何优化或解释来提供或策划意义。IWM的PI和CI将与Delfina基金会的CI合作（其开创性的“收藏即实践”方法揭示了与收藏品的塑造，维护和框架有关的问题），选择三位艺术家，研究人员或策展人从业者：- 公布人权委员会资助的数字化材料（目前有近400部电影，而且还在增加）在博物馆PI团队的支持下，由CI团队进行审查，该团队的经验和观点是IWM团队所缺乏的。-与CI团队一起，通过与用户组的对话和合作，为CI和PI团队选择进行更深入分析的材料开发实验文档和解释，通过现有的IWM在线收集设施和IWM网站的特定部分展示该解释。重新起草选择和优先考虑策展/研究驱动的数字化新阶段的方法，这是对早期方法和通过项目过程中产生的文件所吸取的教训进行共同调查的结果（数字化的策展理由约占数字未来产出的40%- 60%是出于即时保存需求。100%的材料还有待解释。- 建立能力，以确保这一过程和思维方式嵌入到数字未来项目的整个生命周期中-以及后续项目，使各种各样的人能够与博物馆合作，完善和不断重新评估项目-从选择，通过文档和解释，到公共输出。在解释档案收藏时，协同社区的声音，并询问和讨论收藏以及管理其护理和使用的系统和程序（包括如何向公众解释），并让更广泛的从业人员和研究人员参与，询问和讨论收藏品以及管理其护理和使用的系统和程序（包括如何向公众解释）项目资助的遗产将是逐步增加更多样化的数字化和解释材料的选择;与博物馆团队合作，在文献形成阶段增加多样化的视角;为敏捷和即时的公共计划产出提供更多机会，以吸引更广泛和更多样化的受众，特别是：-通过咨询和创造性参与研讨会与冲突有联系的社区-社区档案的用户群体（例如，IWM的战争和冲突主题专家网络的成员和www.example.com上的档案communityarchives.org.uk）-由收集作为实践CI领导的艺术家和研究人员，超越项目团队-部门受众，达到500多名英国和国际成员的IWM的战争和冲突主题专家网络通过博客文章分享经验教训，并举行在线讨论活动，探讨项目提出的关键问题。

Can inclusive, partnership-based interpretive curation methods be run alongside museum archiving and preservation processes, rather than after the material has been selected and presented to the public as viewable digital assets? Drawing on the lessons learned in the recent provisional semantics project, Shared digital futures: partnership and meaning-making in newly digitised collections, takes an experimental, partnership model to bring a diverse range of perspectives to bear on collections that are 'fresh out of the oven' - newly digitised, with skeleton records to achieve basic archival clarity but lacking any optimisation or interpretation to provide or curate meaning. A PI and CI at IWM will, in collaboration with a CI at the Delfina Foundation (whose pioneering Collecting as Practice approach unpacks issues relating to the ways in which collections are shaped, maintained and framed), select three artist, researcher or curator practitioners to: - Expose the AHRC-funded digitised material (currently nearly 400 films and counting) to scrutiny by a CI team with experience and perspectives lacking in IWM's teams, with support from a museum PI team.- With the CI teams, develop experimental documentation and interpretation for material selected for deeper analysis by those CI and PI teams via conversation and collaboration with user-groups, showcasing that interpretation via both existing IWM online collections facilities and a specific section of the IWM website.- Redraft the methodology for selecting and prioritising new phases of curatorially/research-driven digitisation as a result of co-investigation of both early methods and the lessons learned through the documentation produced in the project's journey (curatorial rationale for digitisation accounts for approximately 40% of the Digital Futures output - 60% is motivated by immediate preservation needs. 100% of the material has yet to be interpreted.) - Build capability to ensure that this process and way of thinking is embedded within the full lifecycle of the Digital Futures project - and subsequent projects, empowering a diverse range of people who will work in partnership with the museum to refine and continually reassess the project - from selection, through documentation and interpretation, to public outputs.- Collaboratively engage community voices in interpretation of archival collections and to interrogate and discuss collections and the systems and processes which govern their care and use (including how they are interpreted for the public) and engage broader practitioners and researchers to interrogate and discuss collections and the systems and processes which govern their care and use (including how they are interpreted for the public)The legacy of the project funding will be incrementally more diversely-informed selection of material for digitisation and interpretation; diverse perspectives added at the formative stage of documentation in collaboration with museum teams; and greater opportunities for agile and immediate public programme outputs to appeal to a wider and more diverse audience, specifically:- Communities connected to conflict by experience, circumstance or identity, engaged via consultation and creative engagement workshops- User groups of community archives (e.g. members of IWM's War and Conflict Subject Specialist Network and listed archives at communityarchives.org.uk)- Artists and researchers led by the Collecting as Practice CIs, reaching beyond the project team- Sector audiences, reaching 500+ UK and international members of IWM's War and Conflict Subject Specialist Network sharing lessons learnt via blog posts and holding online discussion event to explore key questions raised by the project.