 So let's get going with our first speaker this afternoon, Julia DeFebo from ArtUK. In spring 2020, ArtUK began the online art exchange hashtag on Twitter in order to encourage a sense of community across the glam sector. Julia is ArtUK's social media manager, and she's going to be discussing now how the online art exchange has grown since that point and how participation has widened with more than 5,000 tweets today using that hashtag. So Julia, please take it away. Thank you. Okay, so just a brief visual description of myself. I have brown shoulder length hair and I'm wearing a white linen shirt on this very hot day. In case you're not familiar with ArtUK, we're a cultural education charity and we partner with over 3,000 public museums and galleries and art collections across the UK to digitize the artworks that are in their collections. We bring the UK's public art together in one place for everyone to explore and enjoy online. And I'm the social media manager for ArtUK and one of the things that we started during lockdown in the spring of 2020 was the online art exchange and this was when museums and galleries were closed to the public. People really were thirsty for culture and initially we hosted a series of regional days to virtually exchange artworks. So we asked institutions to engage with one another by sharing artworks from other collections in their regions. So institutions used ArtUK to find the artworks from other institutions and the idea was and still is to foster a sense of community among the sector and to bring museums together in an informal way. An overwhelming response from the institutions involved led to the expansion of the online art exchange and now there's a theme each Thursday and institutions, curators and even some members of the public participate. It's a really fun lighthearted way to engage with the ArtUK's digital database of artworks and the lighthearted tone of the campaign is intended to make art more approachable to a general audience. So for example you don't need to be an art historian to have an opinion on the purpliest purple artwork or to share a purple artwork that you love. And this is just a quick scroll through of a recent online art exchange so you can get an idea of what it looks like going across the screen. It's just a Twitter feed of different museums sharing images with the online art exchange hashtag. The sense of community is really at the heart of all of it. I really love this quote from the National Gallery of Scotland who said that they've discovered new galleries and museums on Twitter who they wouldn't have otherwise followed. And that's reflected in the numbers actually. So since 2020 as Stephen said there have been over 5,200 online art exchange tweets and also there have been around 195 tweets per month in the last 18 months using the hashtag. I believe these are really conservative estimates so if you at all work in social media you know that Twitter makes it really difficult to count hashtags and so if you want to know how I got there I can tell you about that later. You can ask me it on the side. This chart shows the estimated number of tweets using the hashtag per month in the past 18 months. The orange bars which is January 2021 to April 2021 represent the months in which museums and galleries were closed to visitors for at least part of the month. So engagement was really high online during that time. You can see that there was a little bit of a dip in the winter of this past year but use of the hashtag is picking up again. We average 20% more impressions on Art UK's Twitter account meaning times that our tweets are viewed on online art exchange days compared to other days of the week and we're not alone in this increased impressions and engagement numbers. The institutions who participate in the online art exchange also see more impressions and more engagement on their tweets compared to on online art exchange days compared to other days. So Kettle's Yard in Cambridge noted that their online art exchange tweets are consistently in their top 10 tweets each month and Victoria Art Gallery Museum in Liverpool reached more than double their usual audience with our online art exchange tweets starting lockdown and they say that this reach is still 25% above other Twitter content now that people are going offline more. Part of the success of the online art exchange is just how many institutions participate. So there's a really great geographical spread reflected in those who participate from the Pierre Arts Centre in Orkney to Notton Gallery at Queen's University Belfast to Penley House and Gallery Museum in Penzance. There's also a really wonderful spread of collection size from more local museums such as the Cooper Gallery in Barnsley to trust who care for multiple museums and galleries such as Culture, Pride and Kinross to some of the nation's largest museums such as the National Portrait Gallery. Like many organizations, resourcing is the main challenge that we face with this campaign. We send the themes out ahead of time to the most active collections and to those who have requested it. And while it takes time to send individual messages rather than a group message, this is really what's helped us to have a really successful campaign. It's helped us to build a community and to build trust. They know I'm a real person and many of them know me by first name. I know them by first name too. So this is really actually a plus even though it's a challenge. And also I spend the entire day managing the online art exchange each week. We attempt to retweet and comment on any post that use the hashtag. This helps the post to be seen and is the reason why so many institutions see such high engagement on their online art exchange posts. More people commenting on a post pushes it up and the algorithm especially likes when two verified accounts or two accounts with blue text talk to each other. So it's kind of playing on knowing what the algorithm likes as well. And this is a scroll through showing just how we commented on a post and then someone else commented on it too and it created a really nice conversation online which in addition to being really great in pushing the content up it's also just creating more of a sense of community. We're also making sure that the campaign stays relevant and doesn't seem too repetitive or stale. So we're countering kind of that challenge of it becoming repetitive or stale with the way we choose our themes. This chart shows the top 10 themes from the past 18 months and the ones in orange again are the ones that happened during lockdown when engagement was high. Overall we can see that holiday themes do well such as Valentine's Day, colors do well such as best blues and art genres do well such as still life and sculpture. Also in the future we want to do more collaborations. So upcoming in October we've partnered with Blister Museums and their Canaletto exhibition we're going to have a theme on canals and waterways. And in addition to being a great collaboration it reflects one of Art UK's key aims of supporting collections. And finally we can use the network we've built to run other campaigns and also to support museums and their campaigns. For example a museum came to me just last week and asked if I could pass on information about a Twitter hashtag that they were running to another museum and this to me is a huge success. Museums know that we've created this community and they can tap into this community as a resource. So I'm going to leave you with this quote from the Fitzwilliam Museum that just they're talking about how great it is to say hello to other collections on the online art exchange and to meet them. And if your institution doesn't already join in on the fun on Thursdays I hope that they do. Thanks. Thank you very much Julia that was that that was terrific and I'll certainly be following that hashtag in future. My next speaker is Laurie Podolsky who is a doctoral student at McGill University and Laurie is going to be talking this afternoon about her work to research the impact of digitalization standards on cultural values and the attributes of marginalized communities in particular the way that archivists are still working towards linking technology and standards towards power relationships and colonialism. I mean this is a very interesting subject and we look forward to hearing this and so please take the way Laurie. Thank you Stephen. I'm just going to take a minute and share my screen as well. So I am I've got blonde hair tied back. I don't know if you can see the blue shirt or not but if you can I've got a blue shirt on and glasses so that's the big thing for me too. So again thank you. So thanks everyone for attending this session and to the our presenters for sharing the project I'm really enjoying this very much and I just wanted to say my PhD research as Stephen was mentioning focuses on cultural values or biases in digitization standards. In this presentation I will look at four important concepts and their definitions provide an example of the relationship between cultural values and technological fit and use. Talk about my research questions and themes and highlight some of the impacts of my work. So to frame my research I'd like to introduce four key terms culture, misrecognition, adhered country context and context sensitive. For my research I am adopting Equalium and Okre Force definition of culture as share arts beliefs customs institutions inventions language technology and values. In this definition culture and technology become linked. RISM defines misrecognition as the notion of Western models or strategies shaping or influencing other cultures in which the features or characteristics of a standard replicate the values of the dominant society. The reliance on Western models does not always address the needs of non-Western nations or institutions nor do the Western models fit into unique processes. Bayesa, Kipma and Bernaghau use the term adhere country context in their institutional readiness survey for the development of a national digitization standard. Adhere country context implies that the technical processes of digitization should comply with the milieu of the country and its needs through a socio-technical approach. Over and boughs context sensitive is very similar to the tiered country context and the context sensitive is a solution as well as a strategy. Context sensitive approaches must meet the needs of each nation to ensure that both social and technological aspects of digitization are taken into account. My research identifies a gap in the archival field in which standards are connected to power relationships and the standards are inseparable from their cultural context. Many archives implement Western digitization standards and these standards have the potential to influence or replace the cultural values of non-Western countries. In this effect, in effect this further creates or deepens inequalities between nations and in some cases acts as forms of dominance and colonization. Implement the use of and reliant on Western standards impacts non-Western countries abilities to overcome the dominant values embedded in digitization standards. Non-Western countries face a technological environment that is biased against their unique needs to culturally manage their materials. The loss of cultural distinctiveness may be due to the conflict between cultural values and the standards. In addition, the lack of a context sensitive approach is connected to underlying issues of technological fit with the country's values and this leads to misrecognition. By incorporating cultural values only then can discriminatory designs become context sensitive and the technological fit more successful. So the existing literature defines common challenges such as poor infrastructure, lack of financial resources, lack of staff skillset and training, lack of equipment and ineffective policy development. One part of my research attempts to identify what other challenges exist and these challenges could be considered as cultural values. Another research question incorporates misrecognition and the ways in which digitization standards replicate Western values and whether these values cause the loss of cultural distinctiveness and non-Western countries. In addition to an additional research question looks at the technological conflict that arises between technological fit and cultural values. The question examines how technological conflict is indicated and how low technological adoption and unsustainable standards form part of the technological conflict. So there's a link on this slide. It's mucuto.org. M-U-K-U-R-T-O and Mucuto is a grassroots project that works to empower communities to manage, share and exchange their digital heritage. The organization provides space for multiple cultural narratives, traditional knowledge and diverse protocols to support cultural values, making it a good example of a context-sensitive approach and illustrates the relevance of technology, dominance, and power in archives. Comparing the metadata element creator, for instance, illustrates the importance of cultural values between M-U-K-U-T-O metadata schema and the Dublin Core Standard. M-U-K-U-R-T-O retains indigenous distinctiveness and redefines the element to encompass the person, organization, clan, tribe, or cultural group who creates or also provides the essential knowledge or labor for a heritage object. The Dublin Core Standard only acknowledges or records the person, organization, or service that makes or creates the object and does not take into account the importance of those who provide the knowledge or labor. Since the Dublin Core Standard does not include indigenous cultural values on the person providing the knowledge or labor, this standard lacks the necessary cultural context and erodes indigenous distinctiveness and leads to colonization. Technology such as digitization standards and programs formed a tool of representation and racism in archives. The technology embodies and is embedded with Western dominant cultural values that are expressed through misrecognition. In this sense, technology has cultural biases that exclude others or override marginalized society's values. The conflict of values becomes important when understanding the relationships between technological adoption and colonization. In archival power relationships, technology can be used to further marginalize communities by creating new or overriding existing cultural values. In this context, technology acts as an expression of the Western or dominant culture and can there and can reinforce biases and power relationships. So thank you very much. And I would love to hear your feedback or comments. So please feel free to email. And my email is on this screen as well, lori.padoski at mail.miguel.ca. Thanks again. Thank you, Steven. Thank you very much, Laurie. That was excellent. I hope as well as getting in touch with Laurie, there might be some good questions for her at the end of this session this afternoon. Our next speaker is Christian Davila from the Osvaldo Cruz Foundation. And she's going to be talking to us about the Young Scientist Against Epidemics digital game, which was an initiative to increase awareness amongst the public, particularly amongst young people about the history of combating outbreaks of disease and illness, and the role of Osvaldo Cruz in fighting epidemics in Rio de Janeiro. So I think this is going to be a really interesting one as well as going in a very different direction. So Christian, please give us your talk. Thank you very much, Steven. I'm wearing a white shirt with brown hair and using glasses. Can you see my presentation? Yes, we can. Okay. Good afternoon. First, I would like to thank thank you for the opportunity to be here. I am a communication advisor at Fundação Osvaldo Cruz, an important public health institution in Latin America located in Rio de Janeiro, Brazil. I work with scientific dissemination, especially in projects for the diffusion of Fio Cruz Historical Archive. It is the largest documentary collection on the history of science and health in Brazil. This is the building of Fio Cruz and Ipanema Beach in Rio de Janeiro. Well, in 2020, as we were places in remote work, we had the challenge of organizing an activity to publicize the historical archive for the National Science and Technology Week, a national event in which Fio Cruz is one of the participants. We needed to think of a solution. This is our event in 2019. That's when I read about the work of a history teacher who had made a digital game with gamification strategy in Google Forms in which each step is a challenge for the player to advance. The idea was not to create a quiz with right or wrong answers for scoring, but to pitch and encourage the user to move forward learning. As we were living through an unprecedented pandemic, we decided to use an emblematic episode in the history of Brazilian science, which has Osvaldo Cruz, the founder of my institution, as the protagonist to script the game. The proposal was to make the player a young scientist against epidemic. As an assistant to Osvaldo Cruz, he or she is invited to help the doctor fight epidemics of bubonic plague, yellow fever and smallpox in the years 1903 and 1904 in Rio de Janeiro and participate in important decisions to avoid thousands of deaths. The script was elaborated from research on historical archive photos, academic articles, books and websites. The work included text production, research and writing, and design visual programming. The game was divided into three phases with two teams per phase at a total of six questions. If she or he got the historical question right, he or she would win a prize. If didn't choose what actually happened at that time, he or she would gain an incentive to improve. In other words, he or she won anyway. The proposal was to entertain, teach, maintain interest and make the user move forward. We played with concepts so that the experience would show that it is necessary to learn from the past but to analyze the issues in the light of the time in which they happened. The experience was very gratifying. There were more than 1,380 participants in one year. In one year, most of whom were students aged between 11 and 20 years old. More than 760 left their contact email which generated an important mailing list for future scientific dissemination actions for this audience. It was the first digital educational activity in the historical archive. The success of the game made it one of the activities selected by PhilCruz to compose the institution's stand at Expo Dubai 2022. That is it. Thank you very much. My email, christiane.davilaaroba, PhilCruz, and the email of the designer who made the game with me and the QR code for the game. If you are interested in seeing this. Thank you very much. Thank you very much, christiane. Just to remind everybody that this session is being recorded. If you need to follow up on things like email addresses and QR codes, you will be able to find them through the recording in feed loop later on. That was really interesting, christiane. Thank you very much. I love that project was a response to the pandemic both in terms of topic and both thematically and practically. It was something that could be done whilst everyone's in lockdown. That's really interesting. Thank you. Thank you. So our next speaker is Carly Wanar Hyde from Greenhouse Studios which is part of the University of Connecticut. It's a DH research incubation studio and Carly is going to be talking to us this afternoon about the web app sorcery and some work that's been ongoing to improve and enhance it. So Carly, please tell us more about sorcery. Yes, absolutely. So is everyone able to see my screen okay? Yes, we can. Okay, great. Let me just switch. Okay, great. So hi everyone and thank you so much for attending this lightning talk. It's really been wonderful to hear the presentations of my colleagues and I'm honored to be presenting alongside them and thank you to everybody at DC-DC making this possible. Like I've introduced, my name is Carly Wanar Hyde. I am a woman with longish brown hair in a white linen shirt. I use she they pronouns and I'm really looking forward to telling you all about sorcery, a project out of Greenhouse Studios, like Steve said, at the University of Connecticut Library. So to start, let me tell you a little bit about Greenhouse Studios. So we are a digital humanities research incubation studio and we work across disciplines to create engaging and innovative ways to share research, whether that be in addition to or in lieu of a traditional research paper. My role there is as a design technologist and I am also the project lead and UI UX designer for sorcery. So some examples of project mediums that we've used at Greenhouse are VR and AR experiences, 2D animations, podcasts, ArcGIS, just to name a few and some of the project topics we've done have explored Christian political tribalism, the history and examination of Yukon as a land-grant institution, adult perceptions of children's roles in history and culture, and a recreation of the coronation of King Charles V just to name a few of what we've done. And then we have sorcery of course, so I'll tell you about that in a second, but the sorcery team is made up of our PI team, our testing partners and our developing team and it was really important for us to make sure that this team reflects the target user groups so we're made up of historians, researchers, archivists, librarians and have testing partners that are both public and private academic institutions and libraries. But let me tell you a little bit more about sorcery, what we've learned through the pandemic, what the app is and where we see it heading in. So as you may have noticed, our lives have drastically shifted over the pandemic, especially in the spheres of research and accessibility. So these last two years have really reinforced trends, problems and issues that we already knew existed, but have made them even more salient. And here are those issues that we've kind of identified. The pace of discovery is outpacing the speed of high quality decision, which is really exciting, but something to think about. We have an increased need for integrated in-person and online research and request workflows and the importance of global accessibility to archival documents, especially those that aren't digitized. As we reflected on these issues, we've arrived at the conclusion that in order to alleviate some of these roadblocks, what we need is an improved research infrastructure. So as we've continued the development of sorcery from pre-pandemic until now, we've grown to make sure that the app we are building is dynamic, flexible and scalable so that it may be a tool for both user ants. That's great. So what is sorcery and who are these users exactly? So sorcery just launched this year. It is a nonprofit open access mobile web app that is accessible on any device connected to the internet and it connects researchers with partnered institutions to streamline the reference scan request workflow for undigitized archival documents on a single intuitive interface. So our users are requesters on one side and these might be researchers, historians, students, folks interested in their genealogy, etc. And then we have fulfillers at our partnered institutions and these people could be archivist librarians or perhaps even students or employees working at these repositories. And we wanted to create an app that, like I said earlier, is a tool effective on both user ants. So what are some of its uses and ways that can be implemented? So we want to provide archivist librarians institutions with a few different tools, such as a streamlined reference scanning and fulfillment workflow, customizable payment processing scans through Stripe, if an institution chooses to charge for reference scans, and rich usage analytics, such as the number of requests over a given time, the approximate geographic location of requesters, average file size, and more just in a few. For smaller institutions, sorcery may function as an organizational tool to delegate and keep track of new and progress and completed requests, as well as digitize and catalog material at a reference scan quality through our integrations I'll talk about a little later without needing expensive technology or excessive amounts of time. We hope to help these smaller institutions increase both their accessibility and visibility, while also providing tools that may help in reporting repository usage, whether that being yearly reports or grants, while keeping it financially accessible. Additionally, sorcery has an in-app per request communication feature to allow questions, clarifications, and even links to be shared. So on the requester side, they have a single interface where they can access all partnered institutions through one login portal. They can keep track of their requests on their user dashboard and communicate with archives through the messaging feature. One of our other goals was to provide a way to reduce travel costs, time constraints, and financial barriers for requesters while they research a topic, and sorcery provides them with a way to see the thing or things before deciding if they want to make an extended trip to a repository. So here's how it works. A requester selects the institution they wish to request from, then input any information they may have into the request field, such as a box or folder number, or a full citation if they have it, then hit submit. However, they don't need a full citation to make requests, so there can be some back and forth between the requester and the filler. To complete a request, the filler can either take a picture directly in the app with a smartphone or tablet, upload a JPEG PDF, PNG file, and additional from their computer, or if the article has already been digitized in catalog, they can send a link. Additionally, they can add corrected citations or metadata to each item if they wish to include this information. Then, once the request has been completed, both the requester and the filler will receive a receipt containing the message thread, original citations, corrected citations and metadata if added, and the documents for download. So we have some things that are coming up that we're really looking forward to, so some of these app integrations like I was talking about with apps such as Archives Space, Trophy, Omega, Fedora, and Islandora, so that we can support a more cohesive experience in the reference scan request fulfillment workflow. And then we are also developing native iOS and Android apps, as well as a low bandwidth version of the app that will be released in 2023, especially for researchers with limited access to internet such as in the global south. So by providing a streamlined infrastructure and tools for improved organization and communication, we aim to make the reference scan request process more manageable for archivists and vastly increase access for researchers around the world. We are actively looking for institutions to join Sorceries Growing Network, so if Sorcery sounds like a tool that would benefit your institution or you as a researcher, please reach out to me at Carly at UConn.edu. We can set up an informational meeting, answer any questions, and get started seeing how the app may integrate into your workflow. Thank you so much for your time. And again, thank you to the folks running the conference and planning such a great event. And I really look forward to connecting with all of you more. Thank you very much, Carly. That was another terrific and again, really varied talk, which is really kind of adding to the diversity of topics in this session this afternoon. That was really, really interesting and quite a fascinating look at producing something with, you know, very specific sort of goals in mind. So our next speaker is Dr. Raffy Cecilia from University College London. Raffy is a research fellow at UCL and also an access and inclusion consultant who provides services around audience research and public engagement advice for museums and cultural institutions. She's passionate about improving the experience of disabled visitors through digital innovation and the use of assistive technology. And she's going to be talking to us this afternoon about new opportunities for visually impaired museum visitors. And so Raffy, please let us hear your talk. Thank you very much, Stephen. Thank you for the lovely introduction. So a very quick visual description. I am a young woman with longish hair, brown, blondish, a bit big, wearing a grey, blueish t-shirt. And today I'm going to be talking about post-pandemic opportunities for visually impaired museum visitors. I apologise in advance if I'm not going to be able to describe all of the images, but if anybody needs a description, I will provide it. So please make sure you reach out to me and I will do that. So my PhD research, look at the experience of blind and partially excited people in museums. During and after the first lockdown in the UK, after I finished my PhD, I reached out to participants for my PhD project to try and understand how the pandemic had changed their perspectives and more important the way they used museums. What we need to bear in mind is that inequality issues have worsened. Disabled people are currently struggling to access healthcare treatment they require, experiencing higher rates and more severe mental health issues, experiencing more severe economic issues, worse isolation and even lesser participation compared to non-disabled people. So it is imperative to look at how the pandemic is and will be affecting also the opportunities that disabled people will have to take part in cultural and social activities. While that might seem minor compared to financial and health issues, it has been proven in the past decade or so that participation in cultural and social activities has an incredible beneficial effect on the life of disabled visitors, museum visitors. So when we think about museums in the past pandemic world, is the pandemic going to represent a new barrier or a new opportunity for disabled people? So obviously the pandemic is having a severe impact on museums on many different levels but the current crisis has also opened up conversations about access to museum collections not just physically but also digitally. We have witnessed a true revolution and a very fast revolution in the way museums have engaged audiences online and the way they have created digital opportunities of participation and the way they also have translated collections and exhibitions into digital formats during the lockdowns. The pandemic is having a direct effect on the way disabled people access physical museum spaces but most important digital museum experiences. So on the one hand we're witnessing a very negative impact due to navigation restrictions, new physical barriers, the difficulty to maintain social distancing, new regulations like the use of masks which cannot be always used by everyone or the lack of tactile opportunities, the impossibility to touch objects on display, the lack of dedicated assistance in the physical museum space. However, on the other hand reports of positive experiences have continued to arise due to the increasing possibility to socialize and to participate in cultural opportunities from home, overcoming physical access barriers but also due to a renowned empathy towards disabled people as non-disabled people had a taste for the very first time of several restrictions that are part of disabled people's daily practices and they were part of their lives before the pandemic. On the slide there's some examples of very engaging online opportunities for non-disabled museum visitors and disabled museum visitors. There's the BBC culture in quarantine, museum from home, enjoy art wherever you are and as Julia has spoken about like a couple of like minutes ago the RTK online art exchange hashtag. So what I asked was like what does it mean for visually impaired people and in general disabled people to participate in digital and remote experiences of art and culture and what it meant during the pandemic? The response has been overwhelmingly positive. Susan, one participant said, I just love being able to listen to curators talk, think about exhibitions online, it's a dream. Susan complained when she participated in my PhD that she had to go to the physical space in the museum space and that was a very distressing experience for her but the online contact was not enough to satiate or thirst for knowledge. Davide was very enthusiastic about museums engaging with technology, VR features, 3D technology, gaming, he considered it a very positive innovation and Anna spoke about how it was really helpful for her to engage with museums online during the pandemic to take her mind off and while she complained that accessibility wasn't always great, she really enjoyed being able to access content and the pandemic and the long sense of uncertainty bring the risk to wipe off the independence and the confidence that experienced blind and partially sighted visitors had developed before the pandemic. But even more worryingly, they could potentially create huge barriers that could definitely discourage less empowered disabled people which museums were already struggling to appeal to. Digital innovation is the way to reach out to these people and the way to make them understand that the museum space is a space for them as well. How to do that? A lot of museums after the pandemic have started conversation about access, equality and inclusion and they're started to seek to speak to disabled visitors and difficult institutions do it in different ways. Some reach out to charities, some do it through social media engagement, some collaborate with academics like me, some organize workshops, focus groups and so on. What is important? The three things that I think is important at this stage is to make sure that collaborators, museum collaborators share the same commitment to equality and inclusion that museums are ready to compensate disabled people for their time and expertise that they are transparent and even more important that museums do not waste time when speaking to disabled visitors. Museums need to be prepared to radically change their practice and innovate to make sure to offer equal and empowering opportunities. Thank you very much and thank you Stephen. I think I have some time. Thank you very much Rafi. That was excellent. That was the last of our presentations and they were all superb. I think one of the drawbacks of having a conference in this format and there are many, many advantages such as the fact that I can do it whilst wearing slippers. But one of the disadvantages is that I don't think I speak because I can hear the applause that they would normally hear at the end of a session like this but I'm in no doubt whatsoever that there is a huge amount of appreciation and lots and lots of mental applause for that sort of really, really good conversations and presentations. So could I ask our speakers to put their cameras and mics back on and we'll take a look at some questions and answers. I've got some questions because I found all of those sessions really, really interesting and lots to talk about. But I do notice we have one in the Q&A from Nicky Thorpe which was addressed to Christian. Now Christian, I know that you answered that in writing but if I just read out Nicky's question and I wonder if you would mind answering it in the Zoom course so we could get it into the recording and so everybody can have a chance to hear. So the question from Nicky to Christian was, did you have young people as advisors as the game was built and designed? I, that is Nicky, works with students in a school as part of a young archivist group and would love to engage them in creating something in a similar way that reflects school history. So Christian, please tell us about your kind of experience in that area. I think you're still on mute Christian. Thank you. We didn't have any help of students because we were at remote work and we had to think of a solution for our National Science and Technology Week and as we heard about this game in Google Forms, we decided to use our photographs to explain how can you help a scientist, a student would be very interested in understanding how scientists fight against the epidemic. We had the experience in Brazil in the 20th century, 1903, 1904, we had epidemics of smallpox and yellow fever and bubonic plague and we had, we used this tool to made this game for the students and I think that was very interesting and our experience. If you were to do more projects like this, Christian, do you think you would be keen to involve students in the development process? Yes, we didn't have the opportunity to make contact with schools in Rio de Janeiro. We made this game for the event, the National Week of Science and Technology Week, but we didn't have the opportunity to talk with teachers and students. I think that it would be very important if we could work with this public but we didn't have the opportunity. Thank you. Sorry, my English is not very... I don't think we have any problem with your English today, Christian. Thank you. That was really clear presentation and a really, really clear answer. It has kind of sparked a question in me, I mean in that sort of topic of audience engagement and just thinking about the last talk from Rafi. You spoke very clearly Rafi about the importance of involving disabled users in any kind of consultation and planning about expanding services and accessibility for them, but there are different levels of institution and different kind of scales of operation. Do you have any thoughts on how smaller institutions can involve, maybe institutes of smaller budgets and kind of less resourcing to throw at this type of activity? How they can be sure to involve their audience in this development work? Thank you, Stephen. I think the most important thing to say about this is that not involving disabled people from the beginning of the decision-making process and consultation ends up being more expensive than actually involving them at the end, even when the budget is very limited. Often, especially when collaborating with external companies that might not necessarily have the same commitment to access and inclusion as the museums, the risk is to end up with a product that ends up being discriminatory in the space and then correcting it becomes incredibly expensive. Not correcting it is not an option. Having said that, obviously working with larger institutions that have significant more funding is easier because compensation is a lot easier to advocate for compensation of the expertise. I do believe that it's way past the time to ask people to collaborate and to bring in their expertise for free even when the budget is limited. In a specific response to your question, I think there's ways of compensating people for their expertise in different ways. It could be membership to the museum. It could be special tours of the exhibition. Museums can be creative if the budget is limited. They can offer perhaps a lunch in the cafe. They can offer a private tour, a special tour for them and members of the family by a curator, by a museum director, by a conservator and look behind the scenes. What I think is important is if the money is there, if the budget is there, people need to be compensated. If the money is not there, the community is often very happy to help to provide better experiences as long as there is some sort of compensation even if it needs to be creative. Thank you for that terrific answer. I really like the idea of institutions being created with how they reward and compensate people. It's still not too late if you have a question to pop it into the Q&A for our panel this afternoon. Otherwise, I'll keep going because I've got a tonnage. Oh, we're fantastic. Instead of listening to me, you still have to listen to me. We have a question from Elizabeth Fulton for Julia who asks if you've noticed more and more similar campaigns such as online art exchange occurring since you began using the hashtag. Do you think perhaps it's inspired some similar activities? I'm not sure which ones have come first. I know it was all during lockdown that, for example, York Museum started the Curator Battle, which is really good fun. And part of the fun of the Curator Battle, too, is you know the day before what it's going to be and it's really a light-hearted tone and its institutions involved. Again, Museums involved and they say, you know, give us your weirdest shoe. So their themes are really off the wall, really, really fun. A slightly different approach to ours, but I think it works as well and creates a community. Another organization that's done something that's kind of this other kind of hashtag campaign that started during lockdown was the Royal Academy did the RA Daily Doodle and it's now the RA Friday Doodle. So every Friday someone comes in, they come up with a theme and say, you know, they had one recently, it was like draw a helpful giraffe. So again, really fun and light-hearted. And they said, while engagement started, I spoke to the RA team, they said, while engagement started to dip, that's why they started to do it just on Fridays instead of every day. But they have a really dedicated, really great group of sketchers who always, always comment on it and get involved. And so I guess that's the thing is even when you're seeing, you know, possibly engagement dipping as people are going more offline, especially in the summer when people are on summer holidays, you're still building a community. And when you have a dedicated community, it's really great to have a way to kind of keep that community together. Yeah. And there's actually another part to Elizabeth's question, which is, do you think that other organizations are keen to put their collections online, now that they've seen the success of online art exchange? I think so. I mean, as RUK partners with over 3,200 institutions across the UK, so those collections are all available on ruk.org, which is absolutely incredible. As far as I know, the UK is the only country that has this kind of massive database of artworks. And I would love to see it happen in other countries. I'm American, I'd love to see every US museum put their artworks online. I know it's really helpful for not just for the community to see artworks and get used to seeing them and say, you know, I belong in a museum because I've seen this artwork on TikTok. It's a place for me. But it's also really helpful to researchers to say, okay, well, where's every, I don't know, Barbara Hepworth sculpture in the UK? And suddenly you type it in and you have the whole list. So yeah, I think that in the UK, the museums have definitely been really, really positive for RUK and I do hope to see that elsewhere. Terrific. We have a question in the chat from Raffi. Raffi, do you want to ask Julia that question? Yeah, I followed the online art exchange a lot and I really liked that it was very open and accessible from the beginning, encouraging users to use accessibility features. And I was wondering if something is being done at the moment to encourage users to use alt text to add descriptions for images? I think that's a really great idea, Raffi. And I think that's something I'm going to take on board from your talk. When I send out the themes to all of our partner organizations, I'll ask them to start including alt text if they aren't already. I know a lot of them do. But yeah, I also know that a lot of people when they respond quickly don't always use alt text. So I think it's just making that part of the practice rather than making that an additional thing that we have to do. Like, oh, if we have time, it's just no, that's part of posting. So I'll definitely suggest that to our partner collections when I send out the next set of themes. Awesome. Thank you, Julia. And thank you for that question, Raffi. Just see if we've got any other open questions or anything sitting in the chat. No, I have a question for Laurie. Laurie, again, thank you once again for your talk. It was really interesting. And I was really struck by the failure to always, in the past, treat technology as an artifact of culture and the kind of, you know, the downstream problems from doing that. But just looking at your research in general, you're looking at the problems caused by technology and as a sort of mechanism of power and colonialism. What do you hope will be the sort of outcomes from your work? And what is the sort of applicability to other fields and disciplines of what you're doing? I'm glad you enjoyed it. I enjoyed talking about it. So one of the outcomes that I'm looking at is being able to bring an awareness, especially in the archival field. We talk about, you know, how we might acquire things, acquire collections and phones and stuff like that. And we also talk about a lot on the silences that are in archives, like the papers that we don't collect. So we have those kind of too. And when we go to work with collections, like the technology that we use, like in digitization standards, specifically making them accessible, the kinds of catalogs that we use, the metadata standards. So for using access to memory, the Adam catalog as a way of putting a funding aid, they have their limitations. And so the example that I used in the presentation, Makuto, sort of illustrates how, when we think of something like creator, like who created this? Well, if we, the one core is based on Western standards. And so for someone with a Western culture, it's like the person who actually made it or whatnot. And if you go into indigenous communities, in North America in particular, creator is not just the person who made it. It's also the people involved in the labor or who might provide the knowledge or maybe you wear the stories that come from in explaining the importance or significance of the item or what's being made, also has a lot of significance. And so those are cultural values that we want to address in these standards. So that's one of the things I'm hoping to bring is an outcome is better awareness so that we are more inclusive in archives. And second part of the question, what's working to be applicable in other fields. So one of the areas that we can think about too is when we digitize, we use OCR, we scan it. And if it's handwritten, we may not be able to use OCR, but some of the different types of handwritten software out there or to transcribe handwritten software. Some of them don't recognize different types of letters or symbols and handwriting. So if you think about Cyrillic, like again, using an addition to the sample, Cree Cyrillic is quite prominent in fur trade writings. And so if we're scanning that, the software to transcribe it isn't going to identify that or even the examples that we use to train AI software to recognize things are very much based on our own Western values. And so even with AI, we need to be much more aware of that. And an example completely outside of archives is when people are doing face recognition software. The examples that they use are a lot of times not diverse enough. So if someone is not white or not European, even though they're looking right into the camera, their face is actually not even being recognized because there's no sample in the software system to pick it up. So these are the things that I'm looking at addressing so that we can move and become more diverse and inclusive. Awesome. Thank you very much. That was a terrific answer. And I think that's an important point towards the end there, which I know a lot of people are giving lots of consideration to around the dangers of essentially passing on our biases and into generation of AI, which will just then cause more problems and be even harder to unpick. That's terrific. Thank you. Thank you, Laurie. And we're one minute to the end, but I did have a question for Cardi that I wanted to get in. I did want to give all of our speakers a chance to answer some questions this afternoon. So we're good for time if people are happy to stick around for a few minutes and listen to us chat. And Cardi, I was really interested because I'm involved a lot in kind of product development at JISC and in building tools and resources for researchers. I was wondering, because you're addressing two different audiences with sorcery, the requesters and the request for fillers, what do you see as being the main benefit to the the fulfillers, the kind of archives? Yeah, absolutely. So like I said, we wanted this to be a tool. Originally, it was mainly for researchers, but we had to pivot as the pandemic happened. And we realized there was this very expansive opportunity to make sorcery just as much of a tool for these repositories. So like I said, one of the biggest things we're offering is an analytics feature where Repository can see their number of requests. The types of requests, the size, the ability to actually link out through either ArchiveSpace, a Mecca, and Trophy and kind of curate a reference scan quality mini archive that folks can take a look through as they go to their website. It also has a very full dashboard where an institution can see their new in progress and completed requests and can also assign these requests to people at the repository to help keep track of that workflow. So that's some of the biggest ones. And then we also wanted to alleviate the cost and time, which are very intertwined, that it takes to fully digitize something at top quality. So this would be something that is going to reduce the amount of time it can be done on a smartphone or a scanner if they would like to, but also help repositories see if they are getting any repeated requests for documents that they might want to then push forward in their digitization schedule if they so have it. So that's really kind of where we see a sorcery being a tool. And then it'll also alleviate the inbox back and forth, the spreadsheet back and forth, the manual organization of trying to keep track of requests coming in from multiple different channels. So that's really where we see it as a tool for repositories. So thank you. I love the idea of it being a sort of early warning signal for archives as to which collections they should prioritize. We do have a question in the Q&A from Georgie Salcedo. It's actually from Molly C to all asking, how can organizations ensure their continued commitment to community driven initiatives and what are the challenges of community driven approaches? Now I think all of you actually have some, you know, there's some element of community and community driven approach to what you do. Throw that out to the whole group, you know. I hope we make sure this commitment, particularly which has been seen with maybe Julia's work is kind of, and Kristi answers why there may be kind of been given some impetus by the pandemic and by the circumstances we find ourselves in. How can we keep that drive towards involving communities going? I think it's about embedding it in your mission and your core values. I mean, we've all seen how the pandemic was a really, and still is a really difficult time for many people and how we can drive a sense of community even when we can't be together. So I think it's kind of, in a way, it kind of took away that excuse for us that, oh, my job's on social media. It's all online. It's hard to create a community. There's creative ways to do it. So I think it's just embedding it in those core values and making sure it's part of your daily workflow. And I think, you know, as far as what the challenges are for everyone, it's keeping up engagement and it's resourcing. But, you know, that's part of the excitement, too, when engagement does dip, is trying to come up with the next thing that is going to get people excited about, in my case, about art. Yeah. Anybody else? Yes. I think that our, we have to communicate with our neighbor in Pio Cruz, in Rio. It's a very poor neighbor. And I think that if we have how to communicate with them in schools of these neighborhoods, I think that we could do a good job to show our archives to these young students because they have a very difficult life. And I think that would be very important if they could know this archive that is our history, health history. And I think that the pandemic shows that it's very, it's useful for them to know how we fight against these epidemics. We have the, we have how to do with this. We have this knowledge there. Yeah. I think that we could do a good job if we talk to them about this. Absolutely. Thank you very much for that comment, Christiane. And I guess I'm struck by what Rafi said about involving disabled users when answering my question that it's more expensive to not involve them at the beginning. And, you know, I'm putting that through a slightly different prism is that there's a lot of effort involved in building communities and involving communities, but there's also a great deal of reward for any of the kind of projects that all of us are involved in. And we can all get much, much more reliable, much more impactful outcomes from involving our audiences and our communities as soon as possible. And I think, you know, in answer to that question, I think we all have to find a way to make sure that we do continue to do that.