Remediation: understanding new media
Remediation: understanding new media
Computer
The Wealth of Networks: How Social Production Transforms Markets and Freedom
The Wealth of Networks: How Social Production Transforms Markets and Freedom
Analyzing the Amazon Mechanical Turk marketplace
XRDS: Crossroads, The ACM Magazine for Students - Comp-YOU-Ter
Analysing user generated content related to art history
i-KNOW '11 Proceedings of the 11th International Conference on Knowledge Management and Knowledge Technologies
Combining cultural heritage related web resources in 3D information landscapes
EVA'11 Proceedings of the 2011 international conference on Electronic Visualisation and the Arts
Analysing user motivation in an art folksonomy
Proceedings of the 12th International Conference on Knowledge Management and Knowledge Technologies
Nichesourcing: harnessing the power of crowds of experts
EKAW'12 Proceedings of the 18th international conference on Knowledge Engineering and Knowledge Management
Heritage-Oriented spatial data infrastructures in spain: waiting on the world to change
EuroMed'12 Proceedings of the 4th international conference on Progress in Cultural Heritage Preservation
Competing or aiming to be average?: normification as a means of engaging digital volunteers
Proceedings of the 17th ACM conference on Computer supported cooperative work & social computing
Information Sciences: an International Journal
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Galleries, Libraries, Archives and Museums (short: GLAMs) around the globe are beginning to explore the potential of crowdsourcing, i. e. outsourcing specific activities to a community though an open call. In this paper, we propose a typology of these activities, based on an empirical study of a substantial amount of projects initiated by relevant cultural heritage institutions. We use the Digital Content Life Cycle model to study the relation between the different types of crowdsourcing and the core activities of heritage organizations. Finally, we focus on two critical challenges that will define the success of these collaborations between amateurs and professionals: (1) finding sufficient knowledgeable, and loyal users; (2) maintaining a reasonable level of quality. We thus show the path towards a more open, connected and smart cultural heritage: open (the data is open, shared and accessible), connected (the use of linked data allows for interoperable infrastructures, with users and providers getting more and more connected), and smart (the use of knowledge and web technologies allows us to provide interesting data to the right users, in the right context, anytime, anywhere -- both with involved users/consumers and providers). It leads to a future cultural heritage that is open, has intelligent infrastructures and has involved users, consumers and providers.